GIFT  or 

L*    A.    Williams 


"  Our  Reuels  now  are  ended :  These  our  actors, 
(As  I  foretold  you)  were  all  Spirits,  and 
Are  melted  into  Ayre,  into  thin  Ayre, 
And  like  the  baselesse  fabricke  of  this  vision 
The  Clowd-capt  Towres,  the  gorgeous  Pallaces, 
The  solemne  Temples,  the  great  Globe  it  selfe, 
Yea,  all  which  it  inherit,  shall  dissolue, 
And  like  this  insubstantiall  Pageant  faded 
Leaue  not  a  racke  behinde :  we  are  such  stuffe 
As  dreames  are  made  on ;  and  our  little  life 
Is  rounded  with  a  sleepe." 

Folio  of  1623.  The  Tempest,  IV,  1, 148-158. 


WILLIAM    SHAKESPEARE. 


SHAKESPEARE'S 

U 


COMEDY  :0.P:>,: 


THE    TEMPEST 


EDITED   WITH  NOTES 

BY 

HOMER   B.  SPRAGUE,  A.M.,  Ph.D. 

FORMERLY    PROFESSOR   OF   RHETORIC   IN   CORNELL    UNIVERSITY  ;    AFTERWARDS   PRESIDENT 

OF   THE    STATE    UNIVERSITY    OF   NORTH    DAKOTA  ;    FOUNDER    OF   THE    MARTHA'S 

VINEYARD    SUMMER   INSTITUTE  ;    LECTURER    ON    SHAKESPEARE,   MILTON, 

GOLDSMITH,  ETC.,  UNDER  THE  AUSPICES  OF  THE  AMERICAN  SOCIETY 

FOB  THE  EXTENSION  OF  UNIVERSITY  TEACHING 


WITH 

SUGGESTIONS  AND   PLANS   FOR   STUDY,   TOPICS 
FOR   ESSAYS,   ETC. 


SILVER,    BURDETT   AND   COMPANY 

New  York        BOSTON  Chicago 


^'''■'    rff^^-V^' 


i 


Copyright,  1896, 
By  silver,  BURDETT  «fc  COMPANY. 


PEEFAOE. 


This  edition  of  Shakespeare's  The  Tempest  is  designed  to  meet 
especially  the  wants  of  teachers  and  students,  but  it  is  hoped  that 
many  others  may  find  it  useful.  Of  course  all  the  notes  will  not 
be  alike  valuable  to  each,  but  probably  nine  of  every  ten  readers 
will  find  in  them  something  helpful. 

If  it  be  asked,  "Why  add  another  to  the  many  school  editions?" 
the  following  points  of  difference  between  it  and  most  if  not  all 
of  the  other  editions  may  be  mentioned  :  — 

1.  The  notes  are  intended  to  stimulate  rather  than  supersede 
thought. 

2.  The  results  of  many  of  the  latest  studies  in  interpretation  by 
scholars  have  been  given. 

3.  The  edition  continually  presents  for  choice  the  various  opin- 
ions of  leading  editors  and  commentators. 

4.  It  suggests  some  of  the  best  methods  of  studying  English 
literature,  and  of  making  the  finest  passages  the  basis  of  lessons  in 
language  and  rhetoric. 

5.  It  contains  critical  comments  by  Assistant  Professor  Wendell, 
Dr.  Furness,  and  other  recent  writers,  as  well  as  by  Coleridge, 
Schlegel,  and  other  geniuses  of  past  generations ;  also  topics  for 
essays,  and  an  unusually  copious  index. 

6.  Out  of  regard  for  the  feelings  of  youth,  it  treats  with  more 
delicacy  than  most  editions  certain  passages  difiicult  to  handle  in 
mixed  classes. 


6  ^  PREFACE. 

As  in  our  edition  of  Hamlet,  Merchant  of  Venice,  Macbeth,  As 
You  Like  It,  Midsummer  Nighfs  Dream,  and  Julius  Ccesar,  we  fol- 
low, in  numbering  the  lines,  the  excellent  edition  of  Dr.  Rolfe. 

To  make  the  student's  mastery  of  these  dramas  easy,  complete, 
and  delightful ;  to  insure  in  him  some  appreciation  of  the  richness 
of  Shakespearian  thought  and  the  felicity  of  Shakespearian  expres- 
sion ;  to  enlarge  his  vocabulary,  sharpen  his  critical  judgment,  and 
store  his  memory  with  some  of  the  choicest  gems  in  literature; 
and  so  to  multiply  his  sources  of  enjoyment  and  lift  him  to  a 
higher  plane  of  being,  —  these  are  some  of  the  principal  objects 
30ught  in  this  new  school  edition. 


OONTElNrTS. 


PAGK 

Introduction  to  The  Tempest 9 

Text,  Position,  Length,  Unities 9 

Date  of  Composition  ;  Verse  Tests          .         ,         ,         ,  9 

Source  of  the  Plot 10 

Critical  Comments 11 

Dryden.  —  Johnson.  —  Hazlitt.  —  Schlegel.  —  Coleridge.  — 
Skottowe.  —  Mrs.  Jameson.  —  Campbell.  —  Heine.  — 
Lloyd.  —  Hugo.  —  Mont^gut.  —  Lowell.  —  Phillpotts.  — • 
Kussell.  —  Furnivall.  —  Hudson.  —  Kemble.  —  White. 
—  Garnett.  —  Furness.  —  Wendell. 

Explanations  of  Abbreviated  Forms 2f2 

The  Tempest  —  Text  and  Foot-notes 25 

Appendix. 

How  to  Study  English  Literature  ....  133 

Specimen  Examination  Papers 139 

Topics  for  Essays 141 

Index ,     143 

7 


INTEODUOTIOlir. 


The  earliest  text  of  The  Tempest  is  that  of  the  First  Folio  (1623). 
It  is  printed  there  with  remarkable  correctness,  according  to  Furness. 
Hudson  declares,  however,  that  "the  play  is  badly  printed,  consider- 
ably worse  than  most  of  the  plays  first  printed  in  that  volume.'' 

Its  position  is  first  in  the  Folio.  It  has  been  suggested  that  it  was 
selected  to  occupy  that  place  by  the  editors,  Heminge  and  Condell,  to 
make  the  book  as  attractive  and  salable  as  possible ;  that  they  put 
first  in  order  the  comedies,  and,  of  the  comedies,  that  one  regarded  as 
the  greatest  in  charm,  in  beauty,  in  attractiveness. 

In  length  it  is  the  shortest  with  one  exception.  The  Tempest  has 
2064  lines  ;  The  Comedy  of  Errors,  1778. 

The  unities  are  all  observed ;  place,  time,  and  action.  Herein  it 
conforms  more  strictly  to  ancient  classical  rules  than  any  other  of  the 
plays,  except,  perhaps,  The  Comedy  of  Errors. 

DATE  OP  COMPOSITION. 

After  wading  through  what  would  be  equivalent  to  some  sixty  or 
seventy  close-packed  pages  of  this,  our  edition  of  The  Tempest,  Fur- 
ness, in  his  great  Variorum  Edition,  concludes  thus  :  — 

**  The  Date  of  the  Composition  of  The  Tempest  is  assigned  as  follows : 
by  Hunter,  to  1596 ;  by  Knight,  to  1602  or  1603 ;  by  Dyce,  Staunton, 
after  1603  ;  by  Elze,  to  1604 ;  by  Verplanck,  to  1609 ;  by  Heraud, 
Fleay,  Furnivall,  to  1610  ;  by  Malone,  Steevens,  Collier,  W.  W.  Lloyd, 
Halliwell,  Grant  White  (ed.  i),  Keightley,  Rev.  John  Hunter,  W.  A. 
Wright,  Stokes,  Hudson,  A.  W.  Ward,  D.  Morris,  to  1610-1611 ;  by 
Chalmers,  Tieck,  Garnett,  to  1613;  by  Holt,  to  1614;  by  Capell  (?), 
Farmer,  Skottowe,  Campbell,  Bathurst,  the  Cowden-Clarkes,  Phill- 
potts.  Grant  White  (ed.  ii),  Deighton,  a  late,  or  the  latest,  play. 

**  The  voice  of  the  majority  pronounces  in  favor  of  1610-1611.  Let 
us  all,  therefore,  acquiesce,  and  henceforth  be,  in  this  regard,  shut  up 
in  measureless  content." 

The  verse  tests,  introduced  during  recent  years,  curiously  confirm 
the  opinion  that  The  Tempest  was  one  of  the  last  of  Shakespeare's 

9 


10 


INTRODUCTION', 


plays.  For  example  :  of  end-stopt  lines  (lines  in  which  the  sense  stops 
or  partially  stops  at  the  end),  the  proportion  to  run-on  lines  (lines  in 
which  the  sense  runs  on  without  break  into  the  following  verse)  is,  in 
the  three  plays  which  all  admit  to  be  among  his  earliest,  Love's  Labor's 
Lost^  Comedy  of  Errors^  and  Two  Gentlemen  of  Verona^  as  18^  to  1, 
lOyij  to  1, 10  to  1,  respectively.  But  of  end-stopt  lines  in  the  three 
plays  which  all  concede  to  be  among  his  very  latest,  The  Tempest^ 
Cymbeline,  and  The  Winter^ s  Tale,  the  proportion  to  run-on  lines  is 
but  as  3|  to  1,  2 J  to  1,  and  2^  to  1,  respectively.  In  the  earlier  plays 
he  is,  so  to  speak,  tied  down  to  a  particular  kind  of  verse,  that  in 
which  the  sense  stops  or  partially  stops  at  the  end  ;  in  the  later  plays 
he  is  free  from  that  bondage,  and  this  freedom  conduces  wonderfully 
to  dramatic  power. 

The  following  comparison  is  significant :  — 


No.  of  pentam- 
eter (5  meas- 
ure) rhyming 
lines. 


No.  of  pentam- 
eter (5  meas- 
ure) blank 
verse  lines. 


No.  of  extra 

(11)  syllable 

lines. 


No.  of 
run-on  lines. 


Lovers  Lahofs 

Lost     .     .     . 

The  Tempest    . 


1028 
2 


579 
1458 


4 

33 


1  in  18  + 
1  in    3-f 


SOURCE   OF   THE   PLOT. 

No  source  of  the  plot  has  been  found.  It  is  commonly  thought  that 
Shakespeare  may  have  drawn  it  from  some  long-lost  Italian  novel. 

A  few  of  the  incidents  may  have  been  suggested  to  him  by  the  story 
of  Sir  George  Somers. 

It  seems  that  in  May,  1609,  Sir  George  Somers  sailed  with  a  fleet 
of  nine  ships  for  Virginia.  A  terrible  tempest  scattered  them  in  mid- 
ocean.  Seven  ships  reached  Virginia;  but  the  Sea  Venture,  the 
admiral  ship,  was  wrecked  on  one  of  the  Bermuda  islands,  "a  most 
prodigious  and  enchanted  place,  affording  nothing  but  gusts,  storms, 
and  foul  weather,"  "an  enchanted  pile  of  rocks,  and  a  desert  inhab- 
itation of  devils." 

A  pamphlet  entitled  A  Discovery  of  the  Bermudas,  otherwise  called 
the  Isle  of  Devils,  published  in  1010,  gave  an  account  of  this  storm 
and  wreck.  The  sailors,  exhausted,  had  given  up  all  hope  and  bid 
each  other  farewell,  when  the  ship  was  found  jammigd  between  two 
rocks,  so  that  all  lives  were  saved.  For  nine  months  they  lived  there, 
and  repaired  their  ship.  They  found  the  island  a  delightful  place. 
The  air  was  balmy,  the  fairies  were  birds,  and  the  devils,  wild  hogs  I 


INTRODUCTION.  11 

In  John  Holt's  An  Attempte  to  Rescue  that  Annciente^  English 
Poety  And  Play- Wrighte,  WilUame  Shakespeare,  from  the  Maney 
Errours,  faulsley  charged  on  him,  by  Certaine  New-fangled  Wittes ; 
And  to  let  him  Speak  for  Himself  etc.,  published  in  1749,  the  author, 
in  speaking  of  the  Masque  in  Act  IV  of  The  Tempest,  where  ''Juno 
sings  her  blessings"  on  the  young  couple  — 

Honor,  Riches,  Marriage-Blessing  — 

suggests  that  this  passage  "may  perhaps  give  a  Mark  to  guess  at  the 
time  this  play  was  wrote ;  it  appearing  to  be  a  compliment  intended 
by  the  Poet,  on  some  particular  solemnity  of  that  kind ;  and  if  so, 
none  more  likely  than  the  contracting  the  young  Earl  of  Essex,  in 
1606,  with  the  Lady  Frances  Howard;  which  marriage  was  not  at- 
tempted to  be  consummated,  till  the  Earl  returned  from  his  travels 
four  years  afterwards ;  a  circumstance  which  seems  to  be  hinted  at,  in 
IV,  i,  18 ;  unless  any  one  should  choose  to  think  it  designed  for  the 
marriage  of  the  Palsgrave  with  the  Lady  Elizabeth,  King  James's 
Daughter,  in  1612.  But  the  first  seems  to  carry  most  weight  with  it 
as  being  a  testimony  of  the  Poet's  gratitude  to  the  then  Lord  South- 
ampton, a  warm  Patron  of  the  Author's,  and  as  zealous  a  friend  to  the 
Essex  family :  In  either  case,  it  will  appear,  't  was  one  of  the  last 
Plays  wrote  by  our  Author,  though  it  has  stood  the  first  in  all  the 
printed  editions  since  1623,  which  Preheminence  given  it  by  the  Play- 
ers is  no  bad  Proof  of  its  being  the  last,  this  Author  furnished  them 
with."  — Quoted  from  Furness. 

Tieck  in  1817  discovered  'an  analogue  of  The  Tempest"*  in  an  old 
German  Comedy,  Die  schone  Sidea,  The  Fair  Sidea.  Furness  trans- 
lates it  in  full  (Var,  ed.  pp.  325-341),  and  shows  the  improbability 
that  Shakespeare  could  have  drawn  from  it. 

CRITICAL   COMMENTS.i 

{From  Dryden^s  Preface  to  Troilus  and  Cressida,  1679.) 

To  return  once  more  to  Shakespeare ;  no  man  ever  drew  so  many 
characters,  or  generally  distinguished  'em  better  from  one  another, 
excepting  only  Jonson :  I  will  instance  but  one,  to  show  the  copious- 
ness of  his  invention ;  't  is  that  of  Calyban,  or  the  monster  in  The 
Tempest.  He  seems  there  to  have  created  a  person  which  was  not  in 
Nature,  a  boldness  which  at  first  sight  would  appear  intolerable ;  for 
he  makes  him  a  species  of  himself,  begotten  by  an  Incubus  on  a  Witch  ; 

1  These  comments  are  not  selected  with  a  view  of  presenting  a  complete  treatment  of 
any  points  or  topics ;  but,  rather,  to  awaken  the  reader's  interest,  and  stimulate  him 
to  farther  investigation  and  independent  judgment. 


12  INTRODUCTION. 

but  this,  as  I  have  elsewhere  prov'd,  is  not  wholly  beyond  the  bounds 
of  credibility  ;  at  least  the  vulgar  stile  believe  it.  .  .  .  Whether  or 
no  his  generation  can  be  defended,  I  leave  to  Philosophy  ;  but  of  this 
I  am  certain,  the  Poet  has  most  judiciously  furnish' d  him  with  a  per- 
son, a  language,  and  a  character  which  will  suit  him  both  by  Father's 
and  Mother's  side  ;  he  has  all  the  discontents  and  malice  of  a  Witch, 
and  of  a  Devil ;  besides  a  convenient  proportion  of  the  deadly  sins. 

{From  Johnson'' s  Edition,  1773.) 

Whatever  might  be  Shakespeare's  intention  in  forming  or  adoptmg 
the  plot,  he  has  made  it  instrumental  to  the  production  of  many  char- 
acters, diversified  with  boundless  invention,  and  preserved  with  pro- 
found skill  in  nature,  extensive  knowledge  of  opinions,  and  accurate 
observation  in  life.  In  a  single  drama  are  here  exhibited  princes, 
courtiers,  and  sailors,  all  speaking  in  their  real  characters.  There  is 
the  agency  of  airy  spirits,  and  of  an  earthly  goblin.  The  operations 
of  magic,  the  tumults  of  a  storm,  the  adventures  of  a  desert  island,  the 
native  effusion  of  untaught  affection,  the  punishment  of  guilt,  and  the 
final  happiness  of  the  pair  for  whom  our  passions  are  equally  interested. 

(From   William  HazlitVs  Characters  of  Shakespeare's  Plays,  1817.) 

The  Tempest  is  one  of  the  most  original  and  perfect  of  Shakespeare's 
productions,  and  he  has  shown  in  it  all  the  variety  of  his  powers.  It 
is  full  of  grace  and  grandeur.  The  human  and  imaginary  characters, 
the  dramatic  and  the  grotesque,  are  blended  together  with  the  greatest 
art,  and  without  any  appearance  of  it.  Though  he  has  here  given 
"  to  airy  nothing  a  local  habitation  and  a  name,"  yet  that  part  which 
is  only  the  fantastic  creation  of  his  mind  has  the  same  palpable  text- 
ure and  coheres  "semblably"  with  the  rest.  As  the  preternatural 
part  has  the  air  of  reality,  and  almost  haunts  the  imagination  with 
a  sense  of.  truth,  the  real  characters  and  events  partake  of  the  wild- 
ness  of  a  dream.  .  .  . 

Even  the  local  scenery  is  of  a  piece  and  character  with  the  subject. 
Prospero's  enchanted  island  seems  to  have  risen  up  out  of  the  sea ; 
the  airy  music,  the  tempest-tossed  vessel,  the  turbulent  waves,  all 
have  the  effect  of  the  landscape  background  of  some  line  picture. 

{From  SchlegeVs  Lectures,  1815.) 

In  the  zephyr-like  Ariel  the  image  of  air  is  not  to  be  mistaken  ;  .  .  . 
as,  on  the  other  hand,  Caliban  signifies  the  heavy  elements  of  earth. 
Yet  they  are  neither  of  them  allegorical  personifications,  but  beings 
individually  determined.  In  general,  we  find  in  The  Midsummer 
NighVs  Dream,  in  The  Tempest,  in  the  magical  part  of  Macbeth,  and 


INTRODUCTION.  13 

wherever  Shakespeare  avails  himself  of  the  popular  belief  in  the  in- 
visible presence  of  spirits,  and  the  possibility  of  coming  in  contact 
with  them,  a  profound  view  of  the  inward  life  of  Nature  and  her 
mysterious  springs. 

(From  Coleridge^s  Lectures  and  Kotes,  1818.) 

With  love,  pure  love,  there  is  always  an  anxiety  for  the  safety  of 
the  object,  a  disinterestedness  by  which  it  is  distinguished  from  the 
counterfeits  of  its  same.  Compare  Borneo  and  Juliet.,  Act  II,  Scene 
ii,  with  The  Tempest,  III,  i.  I  do  not  know  a  more  wonderful  in- 
stance of  Shakespeare's  mastery,  in  playing  a  distinctly  rememberable 
variation  on  the  same  remembered  air,  than  in  the  transporting  love 
confessions  of  Romeo  and  Juliet  and  Ferdinand  and  Miranda.  There 
seems  more  passion  in  one,  and  more  dignity  in  the  other ;  yet  you 
feel  that  the  sweet  girlish  lingering  and  busy  movement  of  Juliet,  and 
the  calmer  and  more  maidenly  fondness  of  Miranda,  might  easily  pass 
into  each  other. 

(From  Skottowe^s  Life  of  Shakespeare,  etc.^  1824.) 

The  most  decisive  instance  of  the  pre-eminence  of  Prospero  as  a 
magician  is  the  obedience  of  Ariel.  The  necromancer  of  ordinary 
acquirements  domineered  over  inferior  spirits ;  the  more  skilful,  over 
invisible  beings  of  a  more  exalted  nature  ;  but  that  artist,  alone,  whose 
powerful  genius  had  led  him  triumphant  through  the  whole  range  of 
human  science,  could  aspire  to  the  control  of  spirits  resident  in  the 
highest  regions  of  spiritual  existence. 

(From  Mrs.  Jameson"^ s  Characteristics  of  Women^  ed.  ii,  1833.) 

Let  us  imagine  any  other  woman  placed  beside  Miranda  —  even  one 
of  Shakespeare's  own  loveliest  and  sweetest  creations  —  there  is  not 
one  of  them  that  could  sustain  the  comparison  for  a  moment ;  not  one 
that  would  not  appear  somewhat  coarse  or  artificial  when  brought  into 
immediate  contact  with  this  pure  child  of  nature,  this  "  Eve  of  an 
enchanted  Paradise." 

What,  then,  has  Shakespeare  done  ?  —  *'  O  wondrous  skill  and  sweet 
wit  of  the  man  ! "  —  he  has  removed  Miranda  far  from  all  comparison 
with  her  own  sex ;  he  has  placed  her  between  the  demi-demon  of  earth 
and  the  delicate  spirit  of  air.  The  next  step  is  into  the  ideal  and 
supernatural ;  and  the  only  being  who  approaches  Miranda,  with 
whom  she  can  be  contrasted,  is  Ariel.  Beside  the  subtle  essence  of 
this  ethereal  sprite,  this  creature  of  elemental  light  and  air,  that  "ran 
upon  the  winds,  rode  the  curl'd  clouds,  and  in  the  colors  of  the  rain- 


14  INTRODUCTION. 

bow  lived,"  Miranda  herself  appears  a  palpable  reality,  a  woman, 
**  breathing  thoughtful  breath,"  a  woman,  walking  the  earth  in  her 
mortal  loveliness,  with  a  heart  as  frail-strung,  as  passion-touched,  as 
ever  fluttered  in  a  female  bosom. 

{From  CamphelVs  Dramatic  Works  of  Shakespeare^  1838.) 

The  Tempest^  however,  has  a  sort  of  sacredness  as  the  last  work  of 
the  mighty  workman.  Shakespeare,  as  if  conscious  that  it  would  be 
his  last,  and  as  if  inspired  to  typify  himself,  has  made  its  hero  a  natu- 
ral, a  dignified,  and  benevolent  magician,  who  could  conjure  up  spirits 
from  the  vasty  deep,  and  command  supernatural  agency  by  the  most 
seemingly  natural  means.  .  .  .  And  this  final  play  of  our  poet  has 
magic  indeed  ;  for  what  can  be  in  simpler  language  than  the  courtship 
of  Ferdinand  and  Miranda,  and  yet  what  can  be  more  magical  than 
the  sympathy  with  which  it  subdues  us  ?  Here  Shakespeare  himself  is 
Prospero,  or  rather  the  superior  genius  who  commands  both  Prosper© 
and  Ariel.  But  the  time  was  approaching  when  the  potent  sorcerer 
was  to  break  his  staff,  and  to  bury  it  fathoms  in  the  ocean  —  "  deeper 
than  ever  did  plummet  sound."  That  staff  has  never  been,  and  never 
will  be,  recovered. 

{From  Heine^s  Shakespeare"* s  Mddchen  und  Frauen,  1839.) 

...  To  what  shall  I  compare  you,  Juliet  and  Miranda  ?  I  look  up 
to  the  heavens  and  there  seek  your  image.  Perchance  it  lies  behind 
the  stars,  where  my  gaze  cannot  penetrate.  Perhaps  if  the  glowing 
sun  should  have  the  mildness  of  the  moon,  I  could  compare  it,  Juliet, 
to  thee  !  If  the  gentle  moon  should  e'en  have  the  ardor  of  the  sun, 
I  would  compare  it,  Miranda,  to  thee ! 

{From  W.  W.  Lloyd^s  Critical  Essay,  Singer's  Second  Edition^  1856.) 

It  is  most  curious  to  observe  how  many  of  the  topics  brought  up  by 
colonies  and  colonization  are  indicated  and  characterized  by  the  play, 
—  The  wonders  of  the  new  lands,  new  races ;  the  exaggerations  of 
travellers,  and  their  truths  more  strange  than  exaggeration  ;  new  natu- 
ral phenomena,  and  superstitious  suggestions  of  them  ;  the  perils  of  the 
sea  and  shipwrecks,  the  effect  of  such  fatalities  in  awakening  remorse 
for  ill  deeds,  not  unremembered  because  easily  committed  ;  the  quar- 
rels and  mutinies  of  colonists  for  grudges  new  and  old  ;  the  contests 
for  authority  of  the  leaders,  and  the  greedy  misdirection  of  industry 
while  even  subsistence  is  precarious ;  the  theories  of  government  for 
plantations,  the  imaginary  and  actual  characteristics  of  man  in  the 
state  of  nature ;   the  complications  with  the  indigence ;   the  resort, 


INTRODUCTIOIi.  15 

penalty  or  otherwise,  to  compelled  labor ;  the  reappearance  on  new 
soil  of  the  vices  of  the  older  world ;  the  contrast  of  moral  and  intel- 
lectual qualities  between  the  civilized  and  the  savage,  with  all  the 
requirements  of  activity,  promptitude,  and  vigor  demanded  for  the 
efficient  and  successful  administration  of  a  settlement, — all  these 
topics,  problems,  and  conjunctures  came  up  in  the  plantation  of  Vir- 
ginia, by  James  I ;  and  familiarity  with  them  and  their  collateral 
dependence  would  heighten  the  sensibility  of  the  audience  to  every 
scene  of  a  play  which  presented  them  in  contrasted  guise,  but  in  a 
manner  that  only  the  more  distinctly  brought  them  home  to  their 
cardinal  bearings  in  the  philosophy  of  society  — of  man. 

{From  Francois -Victor  Hugo^s  CEuvres  Completes  de  Shake- 
speare^ 1865.) 

Many  commentators  agree  in  the  belief  that  The  Tempest  is  the  last 
creation  of  Shakespeare.  I  will  readily  believe  it.  There  is  in  The 
Tempest  the  solemn  tone  of  a  testament.  It  might  be  said  that,  before 
his  death,  the  poet  in  this  epopee  of  the  ideal,  had  designed  a  codicil 
for  the  Future.  In  this  enchanted  isle,  full  of  "  sounds  and  sweet  airs 
that  give  delight,"  we  may  expect  to  behold  Utopia,  the  promised  land 
of  future  generations.  Paradise  regained.  Who  in  reality  is  Prospero, 
the  king  of  the  isle  ?  Prospero  is  the  shipwrecked  sailor  who  reaches 
the  port,  the  exile  who  regains  his  native  land,  he  who  from  the  depth 
of  despair  becomes  all-powerful,  the  worker  who  by  his  science  has 
tamed  matter,  Caliban,  and  by  his  genius  the  spirit,  Ariel.  Prospero 
is  man,  the  master  of  Nature  and  the  despot  of  destiny ;  he  is  the 
man-Providence  ! 

The  Tempest  is  the  supreme  denouement,  dreamed  by  Shakespeare, 
for  the  bloody  drama  of  Genesis.  It  is  the  expiation  of  the  primordial 
crime.  The  region  whither  it  transports  us  is  the  enchanted  land 
where  the  sentence  of  damnation  is  absolved  by  clemency,  and  where 
reconciliation  is  ensured  by  amnesty  to  the  fratricide.  And,  at  the 
close  of  the  piece,  when  the  poet,  touched  by  emotion,  throws  Antonio 
into  the  arms  of  Prospero,  he  has  made  Cain  pardoned  by  Abel. 

{From  JSmile  Monteguty  in  Bevue  des  Deux  Mondes,  1865.) 

The  Tempest  is  clearly  the  last  of  Shakespeare's  dramas,  and,  under 
the  form  of  an  allegory,  is  the  dramatic  last  will  and  testament  of  the 
great  poet,  his  adieux  to  that  faithful  public  whose  applause,  during 
the  short  space  of  five  and  twenty  years,  he  had  gained  for  five  and 
twenty  masterpieces,  and  more  than  eleven  others  which,  full  of 
imagination  and  charm,  would  have  made  for  any  lesser  mortal  the 
most  enviable  of  crowns ;  in  a  word,  this  drama  is  a  poetic  synthesis, 
or,  as  Prospero  would  express  it  in  the  language  of  a  magician,  it 


16  INTRODUCTION. 

is  a  microcosm  of  that  dramatic  world  which  his  imagination  had 
created. 

Although  the  last  of  Shakespeare's  plays,  it  is  in  that  volume  placed 
first,  because^  like  the  emblematic  frontispieces  of  antique  books,  it 
prepares  the  reader  for  the  substance  of  all  that  follows.  No  other 
play  will  do  this,  none  other  is  such  a  synthesis  of  all.  .  .  .  The  whole 
Shakespearian  world  is  brought  before  the  imagination  by  the  charac- 
ters of  Prospero,  of  Ariel,  of  Caliban,  and  of  Miranda. 

{From  LowelVs  Among  my  Books,  1870.) 

There  is  scarce  a  play  of  Shakespeare's  in  which  there  is  such  a 
variety  of  character,  none  in  which  character  has  so  little  to  do  in  the 
carrying  on  and  development  of  the  story.  But  consider  for  a  mo- 
ment, if  ever  the  Imagination  has  been  so  embodied  as  in  Prospero, 
the  Fancy  as  in  Ariel,  the  brute  Understanding  as  in  Caliban,  who, 
the  moment  his  poor  wits  are  warmed  with  the  glorious  liquor  of 
Stephano,  plots  rebellion  against  his  natural  lord,  the  higher  Reason. 
Miranda  is  mere  abstract  Womanhood,  as  truly  so  before  she  sees 
Ferdinand  as  Eve  before  she  was  wakened  to  consciousness  by  the 
echo  of  her  own  nature  coming  back  to  her,  the  same,  and  yet  not  the 
same,  from  that  of  Adam.  Ferdinand,  again,  is  nothing  more  than 
Youth,  compelled  to  drudge  at  something  he  despises,  till  the  sacrifice 
of  will  and  abnegation  of  self  win  him  his  ideal  in  Miranda.  The 
subordinate  personages  are  simply  types  ;  Sebastian  and  Antonio  and 
Francisco,  of  the  walking  gentlemen  who  fill  up  a  world.  They  are 
not  characters  in  the  same  sense  with  lago,  Falstaff,  Shallow,  or 
Leontes ;  and  it  is  curious  how  every  one  of  them  loses  his  way  in 
this  enchanted  island  of  life,  all  the  victims  of  one  illusion  after 
another,  except  Prospero,  whose  ministers  are  purely  ideal.  The 
whole  play  indeed  is  a  succession  of  illusions,  winding  up  with  those 
solemn  words  of  the  great  enchanter  who  had  summoned  to  his  service 
every  shape  of  merriment  or  passion,  every  figure  in  the  great  tragic 
comedy  of  life,  and  who  was  now  bidding  farewell  to  the  scene  of  his 
triumphs.  For  in  Prospero  shall  we  not  recognize  the  artist  himself,  — 

"  That  did  not  better  for  his  life  provide 
Than  public  means  which  public  manners  breeds, 
Whence  comes  it  that  his  name  receives  a  brand,"  ^ 

who  has  forfeited  a  shining  place  in  the  world's  eye  by  devotion  to  his 
art,  and  who,  turned  adrift  on  the  ocean  of  life  on  the  leaky  carcass  of 
a  boat,  has  shipwrecked  on  that  Fortunate  Island  (as  men  always  do 
who  find  their  true  vocation),  where  he  is  absolute  lord,  making  all 
the  powers  of  Nature  serve  him,  but  with  Ariel  and  Caliban  as  special 
ministers  ? 


INTROD  UCTION.  17 


(^From  J,  Surtees  PhillpotVs  Bughy  Edition^  1876.) 

Another  poet  had  depicted  a  magical  tempest  with  a  shipwrecked 
prince  cast  upon  an  enchanted  island,  and  there  relieved  and  tended 
by  a  king's  daughter.  The  pictures  are  both  beautiful,  but  they  are 
not  the  same,  and  their  difference  is  as  marked  a  feature  in  their 
beauty  as  their  likeness.  —  If  an  uneducated  person  wished  to  under- 
stand the  meaning  of  a  poetical  creation,  or,  in  other  words,  to  see  in 
what  the  essential  unity  of  a  poem  consisted,  he  could  hardly  do  better 
than  exchange  the  details  in  Homer's  canvas  {Od.  vi,  244,  275,  310), 
piece  by  piece,  for  those  in  Shakespeare.  .  .  . 

There  is  a  real  resemblance,  on  the  other  hand,  between  the  charac- 
ters of  Nausicaa  and  Miranda.  Each  stands  before  us  as  an  ideal  of 
maidenhood,  while  the  depths  of  tenderness  in  each  are  half  revealed 
to  us  by  their  expressions  of  pity  and  sympathy.  .  .  .  Yet  for  all  its 
unrivalled  simplicity,  Miranda's  character  marks  the  growth  in  the 
conception  of  woman's  relation  to  society  since  the  epic  times.  Nau- 
sicaa is  no  free  agent :  she  may  have  preferences,  but  she  does  not 
choose ;  with  a  Quaker-like  simplicity  we  see  her  preparing  for  her 
wedding  with  the  suitor  of  her  father's  choice.  Shakespeare  required 
for  his  Miranda  an  amount  of  self-assertion  which  to  Nausicaa  would 
have  seemed  indecorous. 

{From  Edward  R.  Bussell  in  Theological  Beview,  October  1876.) 

.  .  .  We  have  in  Prospero  a  being  capable  of  calling  forth  spirits,  of 
causing  storms  and  shipwrecks,  miraculous  escapes  and  supernatural 
restorations,  and  indeed  of  doing  everything  very  much  as  the  Deity 
can,  according  to  the  received  theory  of  special  providences.  To  him, 
in  the  seemingly  cruel  exercise  of  his  power,  his  daughter  Miranda 
makes  appeal  in  the  celebrated  passage,  spoken  in  sight  of  the  ship- 
wreck, beginning :  "  If  by  your  art,  my  dearest  father,  you  have  put 
the  wild  waters  in  this  roar,  allay  them."  May  we  not  consider  the 
rest  of  the  play  an  answer,  as  this  passage  is  an  echo,  to  the  weary 
doubts  of  ages  in  the  presence  of  calamities  caused  by  Omnipotence, 
which  seems  malevolent  in  not  having  prevented  them  ? 

{From  FurnivalVs  Leopold  Shakespeare  Introduction^  1877.) 

No  play  brings  out  more  clearly  than  The  Tempest  the  Fourth-Period 
spirit  (i.e.  of  Reunion,  of  Reconciliation,  and  Forgiveness),  and 
Miranda  evidently  belongs  to  that  time  ;  she  and  her  fellow,  Perdita, 
being  idealizations  of  the  sweet  country  maidens  whom  Shakespeare 
would  see  about  him  in  his  renewed  family  life  at  Stratford.  .  .  . 
Turn  back  to  the  First-Period  Midsummer  Night's  Dream,  and  com- 


18  INTRODUCTION. 

pare  with  its  Stratford  girls,  stained  with  the  tempers  and  vulgarities 
of  their  day,  these  Fourth-Period  creations  of  pure  beauty  and  refine- 
ment, all  earth's  loveliness  filled  with  all  angels'  grace,  and  recognize 
what  Shakespeare's  growth  has  been.  .  .  .  The  general  consent  of 
critics  and  readers  identifies  Shakespeare,  in  the  ripeness  of  his  art 
and  power,  more  with  Prospero  than  with  any  other  of  his  characters  ; 
just  as  the  like  consent  identifies  him,  in  his  restless  and  unsettled 
state,  in  his  style  of  less  perfect  art,  with  Hamlet. — When  we  compare 
Prospero's  "  We  are  such  stuff  as  dreams  are  made  of,  and  our  little 
life  is  rounded  with  a  sleep,"  with  all  the  questionings  and  fears  about 
the  future  life  which  perplexed  and  terrified  Hamlet  and  Claudio,  we 
may  see  what  progress  Shakespeare  has  himself  made  in  soul.  .  .  . 
Contrast,  too,  for  a  moment,  Oberon's  care  for  the  lovers  in  the 
Dream,  with  the  beautiful,  tender  feeling  of  Prospero  for  Miranda 
and  Ferdinand  here.  He  stands  above  them  almost  as  a  god,  yet 
sharing  their  feelings  and  blessing  them.  Note,  too,  how  his  tender- 
ness for  Miranda  revives  in  his  words,  "The  fringed  curtains  of  thine 
eyes  advance,"  the  lovely  fancy  of  his  youth,  her  "two  blue  windows 
faintly  she  upheaveth  "  (  Ven.  and  Ad.  482).  He  has  seized  in  Miranda, 
as  in  Perdita,  on  a  new  type  of  sweet  country-girl  unspoilt  by  town 
devices,  and  glorified  it  into  a  being  fit  for  an  angel's  world.  And  as 
he  links  earth  to  heaven  with  Miranda,  so  he  links  earth  to  hell  with 
Caliban. 

{From  Hudson's  Introduction  to  the  Play,  1879.) 

The  Tempest  is  on  all  hands  regarded  as  one  of  Shakespeare's  per- 
fectest  works.  Some  of  his  plays,  I  should  say,  have  beams  in  their 
eyes  ;  but  this  has  hardly  so  much  as  a  mote  ;  or,  if  it  have  any  motes, 
my  own  eyes  are  not  clear  enough  to  discern  them.  I  dare  not  pro- 
nounce the  work  faultless,  for  this  is  too  much  to  affirm  of  any  human 
workmanship ;  but  I  venture  to  think  that  whatever  faults  it  may 
have  are  such  as  criticism  is  hardly  competent  to  specify.  In  the 
characters  of  Ariel,  Miranda,  and  Caliban,  we  have  three  of  the  most 
unique  and  original  conceptions  that  ever  sprang  from  the  wit  of  man. 
We  can  scarce  imagine  how  the  Ideal  could  be  pushed  further  beyond 
Nature;  yet  we  here  find  it  clothed  with  all  the  truth  and  life  of 
Nature.  And  the  whole  texture  of  incident  and  circumstance  is 
framed  in  keeping  with  that  Ideal ;  so  that  all  the  parts  and  particu- 
lars cohere  together,  mutually  supporting  and  supported. 

{From  Mrs.  F.  A.  Kemble^s  Notes,  etc.,  1882.) 

...  It  is  not  a  little  edifying  to  reflect  how  different  Prospero's 
treatment  of  these  young  people's  case  would  have  been  if,  instead  of 


INTRODUCTION,  19 

only  the  most  extraordinary  of  conjurers,  lie  had  been  the  most  com- 
monplace of  scheming  matrons  of  the  present  day.  He,  poor  man, 
alarmed  at  the  sudden  conquest  Ferdinand  makes  of  his  child,  and 
perceiving  that  he  must  *'this  swift  business  uneasy  make,  lest  too 
light  winning  make  the  prize  light,"  can  bethink  himself  of  no  better 
expedient  than  reducing  the  poor  young  prince  into  a  sort  of  sup- 
plementary Caliban,  a  hewer  of  wood  and  drawer  of  water:  now,  a 
modern  chaperon  would  merely  have  had  to  intimate  to  a  well- trained 
modern  young  lady,  that  it  would  be  as  well  not  to  give  the  young 
gentleman  too  much  encouragement  till  his  pretensions  to  the  throne 
of  Naples  could  really  be  made  out  (his  straying  about  without  any 
Duke  of  Newcastle,  and  very  wet,  was  a  good  deal  like  a  mere  advent* 
urer,  you  know)  ;  and  I  am  pretty  certain  that  the  judicious  mamma^ 
or  female  guardian  of  Miss  Penelope  Smith,  the  fair  British  Islander 
who  became  Princess  of  Capua,  pursued  no  other  system  of  provoca- 
tion by  repression.  An  expert  matrimonial  schemer  of  the  present 
day,  I  say,  would  have  devised  by  these  means  a  species  of  trial  by 
torture  for  poor  Ferdinand,  to  which  his  " sweating  labour'*  as  Pros- 
perous patient  log  man  would  have  been  luxurious  idleness. 

(^From  Bichard  Grant  Whitens  Studies  in  Shakespeare^  1886.) 

Nothing  is  clearer  to  me,  the  more  I  read  and  reflect  upon  his  works, 
than  that,  after  Shakespeare's  first  three  or  four  years'  experience  as 
a  poet  and  dramatist,  he  was  entirely  without  even  any  art-purpose  or 
aim  whatever,  and  used  his  materials  just  as  they  came  to  his  hand. 
.  .  .  The  Tempest  conforms  to  the  unities  of  time  and  place  merely 
because  the  story  made  it  convenient  for  the  writer  to  observe  them  ; 
The  Winter'' s  Tale  defies  them 'because  its  story  made  the  observance 
of  them  very  troublesome,  and  indeed  almost,  if  not  quite,  impossible. 
There  has  been  a  great  deal  of  ingenious  speculation  about  Shake- 
speare's system  of  dramatic  art.  It  is  all  unfounded,  vague,  and 
worthless.    Shakespeare  had  no  system  of  dramatic  art. 

(From  Dr.  Garnetfs  Irving  Shakespeare^  1890.) 

The  Tempest  is  not  one  of  those  plays  whose  interest  consists  in 
strong  dramatic  situations.  The  course  of  the  action  is  revealed  from 
the  first.  Prospero  is  too  manifestly  the  controlling  spirit  to  arouse 
much  concern  for  his  fortunes.  Ferdinand  and  Miranda  are  soon  put 
out  of  their  pain,  and  Ariel  lies  beyond  the  limits  of  humanity.  The 
action  is  simple  and  uniform,  and  all  occurrences  are  seen  converging 
slowly  towards  their  destined  point.  No  play,  perhaps,  more  per- 
fectly combines  intellectual  satisfaction  with  imaginative  pleasure. 
Above  and  behind  the  fascination  of  the  plot  and  the  poetry  we  behold 


20  INTRODUCTION. 

Power  and  Right  evenly  paired  and  working  together,  and  the  justifi- 
cation of  Providence  producing  that  sentiment  of  repose  and  acquies- 
cence which  is  the  object  and  test  of  every  true  work  of  art. 

{From  Br.  Horace  Howard  Furness^s  Preface  to  Variorum 
Edition,  1892.) 

With  the  exception  of  Hamlet  and  Julius  Ccesar  no  play  has  been 
more  liberally  annotated  than  The  Tempest. 

Unquestionably,  a  large  portion  of  this  attention  from  editors  and 
critics  must  be  owing  to  the  enduring  charm  of  the  Play  itself,  domi- 
nated as  it  is  by  two  such  characters  as  Prospero  and  Ariel,  whose 
names  have  become  almost  the  symbols  of  an  overruling,  forgiving 
wisdom,  and  of  an  ** embodied  joy  whose  race  has  just  begun." 

There  is  yet  a  third  character  that  shares  with  these  two  my  pro- 
found wonder,  and,  as  a  work  of  art,  my  admiration.  It  is  not 
Miranda,  who,  lovely  as  she  is,  is  but  a  girl,  and  has  taken  no  single 
step  in  that  brave  new  world  just  dawning  on  the  fringed  curtains  of 
her  eyes.  **  To  me,"  says  Lady  Martin,  in  a  letter  which  I  am  kindly 
permitted  to  quote,  "Miranda's  life  is  all  to  come."  We  knov/,  in- 
deed, that  to  her  latest  hour  she  will  be  the  top  of  admiration,  but,  as 
a  present  object,  the  present  eye  sees  in  her  only  the  exquisite  possi- 
bilities of  her  exquisite  nature.  In  Caliban  it  is  that  Shakespeare 
has  risen,  I  think,  to  the  very  height  of  creative  power,  and,  by  mak- 
ing what  is  absolutely  unnatural  thoroughly  natural  and  consistent, 
has  accomplished  the  impossible.  Merely  as  a  work  of  art,  Caliban 
takes  precedence,  I  think,  even  of  Ariel. 


The  student  will  do  well  to  read  Browning's  poem,  Caliban  vpoti 
Setehos;  or  Natural  Theology  in  the  Island.  "The  essence  of  the 
poem,"  says  Purness,  "lies  in  its  alternative  title,  which  sets  forth 
the  vague  questionings  of  a  keenly  observant,  but  utterly  untutored, 
mind  in  regard  to  the  existence  of  an  overruling  power,  the  problem 
of  evil,  the  mystery  of  pain,  and  the  evidences  of  caprice,  rather  than 
of  law,  in  the  government  of  the  world,  — such  restless  longing  for  a 
solution  of  the  mysteries  of  life  as  rise  unbidden  to  the  mind  when 
looking  on  the  ocean,  at  high  noon,  amid  the  full  tide  of  summer  life." 

(From  Ass't  Prof.  Barrett  WendelVs  William  Shakespeare,  1894.) 

The  Tempest  is  a  very  great,  very  beautiful  poem.  As  a  poem  one 
can  hardly  love  or  admire  it  too  much.  As  a  play,  on  the  other  hand, 
Jt  is  neither  great  nor  effective.  The  reason  is  not  far  to  seek  :  it-s 
motive  is  not  primarily  dramatic ;  the  mood  it  would  express  is  not  that 


INTRODUCTION.  21 

of  a  playwright,  but  rather  that  of  an  allegorist  or  philosopher.  .  .  . 
The  very  complexity  and  the  essential  abstractness  of  the  endlessly 
suggestive,  philosophic  motive  of  the  Tempest  is  reason  enough  why, 
for  all  its  power  and  beauty,  the  play  should  theatrically  fail.  Like 
Cymheline^  though  far  less  obtrusively,  it  contains  too  much.  Like 
Cymbeline  it  reveals  itself  at  last  as  a  colossal  experiment,  an  attempt 
to  achieve  an  effect  which,  this  time  at  least,  is  hopelessly  beyond 
human  power.  Less  palpably  than  Cymbeline,  but  just  as  surely,  the 
Tempest  finally  seems  laborious.  .  .  .  The  motive  of  the  Tempest 
we  have  seen  to  be  philosophic,  or  allegorical,  or  at  least  something 
other  than  purely  artistic.  .  .  .  This  quality  of  deliberation,  per- 
haps, typifies  the  fatal  trouble.  Creatively  and  technically  powerful  as 
the  Tempest  is, —  sustained,  too,  and  simplified,  and  beautiful, —  it  has 
throughout  a  relation  to  real  life  which  we  cannot  feel  unintentional. 
In  a  spontaneous  work  of  art,  one  feels  that  the  relation  of  its  truth  to 
the  truth  of  life  is  not  intended,  but  is  rather  the  result  of  the  essen- 
tial veracity  of  the  artist's  observation  and  expression.  In  such  an 
effect  as  that  of  the  Tempest  one  grows  more  and  more  to  feel  that, 
for  all  its  power,  for  all  its  mastery,  for  all  its  beauty,  the  play  is  really 
a  tremendous  effort.  ...  In  Cymbeline  we  found  what  seemed  a 
deliberate  attempt  to  assert  artistic  power  at  a  moment  when  that 
power  was  past  the  spontaneous  vigor  of  maturity.  Here,  in  the 
Tempest,  we  find  another  such  effort,  more  potent  still.  .  .  .  His 
motive  is  not  really  dramatic,  nor  even  purely  artistic ;  it  is  philo- 
sophic, allegorical,  consciously  and  deliberately  imaginative.  His 
faculty  of  creating  character,  as  distinguished  from  constructing  it,  is 
gone.  All  his  power  fails  to  make  his  great  poem  spontaneous,  easy, 
inevitable.  Like  Cymbeline^  it  remains  a  Titanic  effort;  and  in  an 
artist  like  Shakespeare,  effort  implies  creative  decadence, — the  fatal 
approach  of  growing  age. 


22 


INTRODUCTION. 


EXPLANATIONS  OF  ABBREVIATED  F0BM8. 

The  abbreviations  of  the  titles  of  books  in  the  Bible  and  of  Shake- 
speare's plays  hardly  need  explanation. 


Abbott,   Abbott's  Shakespearian 
Grammar. 

Adj.,  adjective. 

Adv.,  adverb. 

Ar.,  Arabic. 

A.S.,  Anglo-Saxon. 

Beaum.,  Beaumont. 

Bracket,  Brachet's  French  Ety- 
mological Dictionary. 

Celt.,  Celtic. 

Cent.,  Century  (Dictionary). 

Class.,  Classical  (Dictionary). 

Comus,  Milton's  Masque  of 
Comus. 

Cot.  Fr.  Diet. ,  Cotgrave's  French 
Dictionai^. 

Dan.,  Danish. 

Diet.,  Dictionary. 

Dim.  or  dimin. ,  diminutive. 

Du.,  Dutch. 

E.,  English  or  early. 

Ed.,  edition. 

E.E.,  Early  English  (about  1250- 
1350). 

Etc.,  et  cetera,  and  the  rest. 

Et  seq.,  et  sequentia,  and  the  fol- 
lowing. 

Faerie    Q.,   Spenser's  Fairy 
Queen. 

Fr. ,  Frenoh. 

FurnesSy  Furness's  Variorum  Edi- 
tion. 

Gael.,  Gaelic. 

G.  or  Germ.,  Geiinan. 

H.G.,  High  German. 

lb.  or  ibid.,  ibidem,  in  the  same. 

Icel.,  Icelandic. 


Id.,  idem,  the  same. 

I.e.,  id  est,  that  is. 

Int.  Diet.,  Webster's  Interna- 
tional Dictionary, 

Ital.,  Italian. 

Lang.,  language. 

Lat.,  Latin. 

Maetz.,    Maetzner's   Englische 
Grammatik. 

Med.  orMediaev.,  Mediaeval. 

Mid.  Eng.,  Middle  English  (about 
1350-1550). 

New  Eng.  Diet.,  Murray's  Neio 
English  Dictionary. 

Nor.  or  Norw.,  Norwegian. 

O.,  old. 

Obs.,  obsolete. 

Orig.,  original,  or  originally. 

Par.  Lost,  Paradise  Lost. 

Par.  Beg.,  Paradise  Eegained, 

Per.,  person  (in  grammar). 

Pers.,  Persian. 

Phila. ,  Philadelphia. 

Pres. ,  present  (in  grammar). 

Q.  v.,  quod  vide,  which  see. 

Schmidt,  Schmidt's  Shakespeare 
Lexicon. 

S.  or  Sh.  or  Shakes.,  Shakespeare. 

Sing.,  *  singular'  (in  grammar). 

Skeat,  Skeat's  Etymological  Dic- 
tionary of  the  English  Lan- 
guage. 

Span.,  Spanish. 

Var.  Ed.,  Variorum  Edition. 

W.,  Welsh. 

Wb.,  Webster's  Dictionary. 

Wore,  Worcester's  Dictionary. 


DRAMATIS  PEESON^. 


Alonso,  King  of  Naples. 
Sebastian,  his  brother. 
Prospero,  the  right  Duke  of  Milan. 
Antonio,  his  brother,  the  usurping 

Duke  of  Milan. 
Ferdinand,  son    to   the    King  of 

Naples. 

GoNZALO,  an  honest  old  Counsellor. 

Adrian,       )  t  ^^Ac 
_  '        >  Lords. 

Francisco,  i 

Caliban,  a  savage  and  deformed 

Slave. 


Trinculo,  a  Jester. 
Stephano,  a  drunken  Butler. 
Master  of  a  Ship,  Boatswain,  Mari- 
ners. 
Miranda,  daughter  to  Prospero. 
Ariel,  an  airy  Spirit. 
Iris, 

l^ERES, 

Juno,       \  presented  by  Spirits. 

Nymphs, 

Reapers, 

Other  Spirits  attending  on  Prospero. 


Scene  ;  A  ship  at  sea :  an  uninhabited  island. 


THE    TEMPEST. 


ACT  I. 


Scene  I.     On  a  Ship  at  Sea :  a  tempestuous  noise  of  thunder 
and  lightning  heard. 

Enter  a  Ship-master  and  a  Boatswain. 

Master.   Boatswain ! 
Boatswain.   Here,  master ;  what  cheer  ? 
Master.  Good :  speak  to  the  mariners  :  fall  to  't,  yarely,  or 
we  run  ourselves  aground ;  bestir,  bestir !  [^Exit. 


ACT  I.  Scene  I.  1.  Boatswain  (pronounced  by  all  sailors  bo-sn), 
A.  S.  sioain,  fr.  Icel.  sveinn,  boy,  servant.  "The  boatswain  is  to  have 
charge  of  all  the  cordage,  tackle,  sails,  fids  (wooden  pins),  marline-spikes, 
needles,  twine  and  sail-cloth,  and  rigging."  Capt.  John  Smith's  {our 
John  Smith,  founder  of  Virginia)  Accidence  for  Young  Seamen,  l()2e).  — 
He  has  charge  of  the  boats,  colors,  anchors,  etc.  —  2.  master.  He  com- 
mands a  merchant  vessel  as  a  captain  does  a  ship  of  war.  —  cheer  =  out- 
look? encouraging  prospect?  See  line  5.  —  Late  Lat.  cara,  Old  Fr.  chere, 
face,  appearance,  look.  See  our  Mer.  of  Venice,  IH,  ii,  307.  —  John,  xvi. 
33.  —  3.  Good  —  evasive,  like  'well,'  'let  that  go,*  'no  matter  for  that' 
[Hudson]  ?  '  I  am  glad  you  are  at  hand '  [Phillpotts,  Moberly,  Furness]  ? 
•  my  good  fellow  '  [Dyce,  White,  Rolfe,  Corson,  Schmidt,  Deighton,  Meikle- 
john,  etc.]?  —  The  'cheer'  was  good  if  they  bestirred  themselves?  not 
otherwise?  —  See  lines  14  and  18;  Hamlet,  our  edition,  I,  1,  70;  Wint. 
Tale,  V,  i,  19;  Com.  of  Er.,  IV,  iv,  22;  Rom.  and  Jul.,  I,  v.  6;  Abbott,  13. 
—  Is  there  a  sound  of  courtesy,  a  feeling  of  conciliation  in  the  word?  If 
so,  would  it  be  used  vocatively  by  the  master  to  his  boatswain?  —  After 
good  in  the  folio  is  a  colon,  which  is  generally  supposed  to  be  here  equiv- 
alent to  a  comma.  —  speak  =  say?  call  upon,  apply  to,  exhort,  bid  do 
their  best  [Schmidt]?  —  A  notice  to  be  ready  for  quick  action ?  — yarely . 
A.  S.  gearu.  Old  Eng.  gearo,  ready,  quick,  prompt.  Skeat.  "In  the  next 
speech  yare,  as  an  imperative  verb,  is  be  nimble,  or  be  on  the  alert.'' 
Hudson.    Yare  is  an  adjective  in  V,  i,  224.    Is  it  still  used?— ^  becomes 

25 


26  THE  TEMPEST.  [ACT  I. 


Enter  Mariners. 

Boatswain,  Heigh,  my  hearts  !  cheerly,  cheerly,  my  hearts  ! 
yare,  yare !  Take  in  the  topsail.  Tend  to  the  master's  whis- 
tle. —  Blow  till  thou  burst  thy  wind,  if  room  enough ! 

Enter  Alonso,  Sebastian,  Antonio,  Ferdinand,  Gonzalo, 
and  others. 

Alonso.  Good  boatswain,  have  care.  Where's  the  master  ? 
Play  the  men. 

Boatswain.   I  pray  now,  keep  below.  lo 

Antonio.   Where  is  the  master,  boson  ? 

Boatswain.  Do  you  not  hear  him?  You  mar  our  labor. 
Keep  your  cabins ;  you  do  assist  the  storm. 


yy  as  geong,  young ;  daegy  day.  5.  hearts.  Sailors  still  say  '  my  hearties,* 
and  like  to  be  called  '  hearts  of  oak.* 

cheerly. 1  Adv.  ?  So  angerly,  wonderly  ;  masterly  in  "  Thou  dost 
speak  masterly,"  Twelfth  N.,  II,  iv,  22.  See  Abbott,  447.  — What  the 
sailors  need  is  cheerful  courage,  vigilant  attentiveness,  and  prompt  energy. 
Is  the  ship  driving  parallel  with  the  shore?  —  6,  7.  yare.  So  "  Yare,  yare, 
good  Iras  ;  quick !  "  Ant.  and  Cleop.,  V,  ii,  282.  —  topsail.  Danger  of  cap- 
sizing? of  grounding?  —  In  a  square-rigged  vessel,  the  topsail  is  the  one 
next  above  the  lowermost  sail.  —  "When  the  topsail  is  furled,  the  sails 
are  snug,  and  they  can  defy  the  storm  to  burst  its  wind  with  blowing,  if 
only  there  is  sea-room  enough ;  which,  by  the  next  order,  we  see  there  is 
not."    Phillpotts.  — In  Pericles  (III,  i,  44,  45,  46),  we  read  — 

1  Sailor.    Blow  and  split  thyself! 

2  Sailor.    But  sea-room,  an  the  brine  and  cloudy  billow  kiss  the  moon,  I  care  iic 

—  So  in  Lear  (III,  ii,  1),  "Blow  winds,  and  crack  your  cheeks."  The 
allusion  is  to  the  manner  in  which  the  winds  are  represented  in  ancient 
pictures,  with  their  cheeks  puffed  out  [Mason,  Hudson,  Deighton]?  The 
humor  of  the  comparison  to  a  horse  (as  in  1  Henry  IV,  II,  ii,  13)  with 
short  breath  or  diseased  respiration,  marks  the  self-reliance  of  the  speaker 
[Phillpotts]  ?  —  whistle.  They  are  said  to  have  been  sometimes  of  silver 
or  even  of  gold.     See  Fairness. 

9.  Flay  the  men.  So  in  2  Sawuel,  x,  12;  in  Chapman,  Marlow,  and 
elsewhere  in  Shakespeare.  —  In  Macbeth  and  Henry  VIII,  Shakes,  has 
play  the  ivoman,  i.e.  weep.  In  Mer.  of  Venice,  "the  immter  plays  the 
spider,"  etc.  — 11.  boson.  With  Knight  and  White  we  here  reproduce 
the  orig.  folio  reading.  'This  coarse  Hippant  man,'  Antonio,  is  supposed 
to  shorten,  sailor-like,  boatswain  to  boson.  Dyce,  Furness,  and  others 
think  the  unsettled  state  of  our  early  orthography  sutticiently  accounts 
for  the  *  boson.'  — 13.  assist  the  storm.    How ?  —  In  Pericles,  III,  i,  19,  we 

*  "  Oft  listening  how  the  hounds  and  horn 
Cheerly  rouse  the  slumbering  Morn." 

—  Milton's  r Allegro,  53,  54. 


SCENE  I.]  THE  TEMPEST.  27 

Gonzalo.  Nay,  good,  be  patient. 

Boatswain.  When  the  sea  is.  Hence !  What  cares  these 
roarers  for  the  name  of  king  ?  To  cabin !  Silence  !  trouble 
us  not.  17 

Gonzalo.    Good,  yet  remember  whom  thou  hast  aboard. 

Boatswain.  None  that  I  love  more  than  myself.  You  are 
a  counsellor ;  if  you  can  command  these  elements  to  silence, 
und  work  the  peace  of  the  present,  we  will  not  hand  a  rope 
more.  Use  your  authority ;  if  you  cannot,  give  thanks  you 
have  lived  so  long,  and  make  yourself  ready  in  your  cabin 
for  the  inischance  of  the  hour,  if  it  so  hap.  —  Cheerly,  good 
hearts  !  —  Out  of  our  way,  I  say.  \_Exit. 

Gonzalo.  I  have  great  comfort  from  this  fellow :  methinks 
he  hath  no  drowning  mark  upon  him ;  his  complexion  is  per- 
fect gallows.  Stand  fast,  good  Eate,  to  his  hanging !  Make 
the  rope  of  his  destiny  our  cable,  for  our  own  doth  little  ad- 
vantage !  If  he  be  not  born  to  be  hanged,  our  case  is  mis- 
erable. \Exeiint. 

have,  **Do  not  assist  the  storm." — 14.  good.  See  line  3.  — 15.  Hence  I 
The  energetic  brevity  and  bluntness  of  the  boatswain  are  quite  refreshing, 
as  he  orders  king,  duke,  counsellor,  etc.,  out  of  his  way.  We  are  quite 
in  love  with  him.  cares.  Sailor  blunder  for  care?  "  When  the  subject 
is  as  yet  future  .  .  .  the  third  person  singular  might  be  regarded  as  the 
normal  inflection."  Abbott,  335.  See  I,  ii,  477;  IV,  i,  259.  — So  it  is  in 
Greek?  —  Old  plural  in  s?  — 16.  roarers.  'Roarer'  was  a  slang  term 
for  blustering  bully? — See  scene  ii,  2.  —  To  cabin!  Shakes,  very  often 
omits  the ;  but  there  is  a  special  propriety  in  brevity  here.    See  on  line  15. 

—  Abbott,  90.  — 18.  Good.  See  on  line  3.-21.  of  the  present.  In  Jul. 
Cses.,  I,  ii,  161,  we  have /or  this  present;  in  Macbeth,  1,  v,  55,  this  iguo- 
rant  present.  So  in  Prayer  Book,  and  in  1  Corinth.,  xv,  6.  —  hand.  In 
Winter's  Tale,  II,  iii,  62,  hand  =  lay  hostile  hands  on.  —  24.  hap.  Used 
by  Shakes,  as  verb  and  noun.  —  25.  Out  of  our  way.  "I  have  great 
comfort  from  this  fellow"  —  a  genuine  old  *salt'! — 26.  I  have  great 
comfort,  etc.  ''Gonzalo,  the  only  good  man  with  the  king,  is  the  only 
man  that  preserves  his  cheerfulness  on  the  wreck  and  his  hope  on  the 
island."  Coleridge.  —  27.  no  drowning  mark.  See  V,  i,  217,  218.  In 
Two  Gentlemen  of  V.,  I,  i,  140,  141,  we  read  of  the  ship, 

*'  Which  cannot  perish  having  thee  aboard, 
Being  destined  to  a  drier  death  on  shore." 

—  complexion  =  nature,  native  bent,  aptitude  [Hudson]?  external  ap- 
pearance [Schmidt,  Rolfe]?  external  appearance  as  indicative  of  disposi- 
tion, character  [Deighton]?  constitution,  or  temperament,  as  shown  by 
the  outward  appearance  [Wright]  ?  —  See  our  ed.  of  Julius  C,  I,  ii,  127. — 

28.  gallow^s.  Adjective,  as  in  *  gallows-bird '  ? —  perfect  gallows,  like 
'perfect  Richard,'  in  King  John,  I,  i,  90.  —  A.  S.  galga,  a  cross,  gibbet.  — 

29,  30.  doth  =  causeth,  worketh?  or  is  the  word  an  auxiliary?  —  advan- 
tage =  profit  (received) ,  gain  ?  yield  profit,  benefit  ?  See  our  note  on 
the  dram  of  eale,  in  our  ed.  of  Hamlet,  I,  iv,  36.  —  Two  Gent.  Ver.,  Ill,  ii, 
42 ;  Sonnet t  cxxxii,  8. 


28  THE  TEMPEST.  [ACT  I. 


Enter  Boatswain. 

Boatswain,  Down  with  the  topmast !  yare !  lower,  lower  ! 
Bring  her  to  try  wi'  the  main-course.  \_A  cry  witliinr\  A  plague 

upon  this  howling !  they  are  louder  than  the  weather 

or  our  office.  —  35 

Enter  Sebastian,  Antonio,  and  Gonzalo. 

Yet  again !  what  do  you  here  ?  Shall  we  give  o'er,  and 
drown  ?     Have  you  a  mind  to  sink  ? 

Sebastian.  A  plague  o'  your  throat,  you  bawling,  blasphe- 
mous, incharitable  dog ! 

Boatswain.     Work  you,  then.  40 

Antonio.  Hang,  cur !  hang,  you  insolent  noise-maker !  We 
are  less  afraid  to  be  drowned  than  thou  art. 

Gonzalo.  V\\  warrant  him  for  drowning,  though  the  ship 
were  no  stronger  than  a  nutshell. 

Boatswain.  Lay  her  a-hold,  a-hold !  Set  her  two  courses. 
Off  to  sea  again ;  lay  her  off. 


32.  Down  -with  the  topmast  =  "Strike  or  lower  the  topmast  down 
to  the  cap,  as  it  holds  wind  and  retards  the  ship;  evidently  the  main  top- 
mast, as  only  one  is  mentioned."  Capt.  E.  K.  Calver,  of  the  Royal  Navy. 
The  ships  of  the  Elizabethan  age  had  usually  no  topmast.  Lord  Mulgrave 
says,  **  The  striking  of  the  topmasts  was  a  new  invention  in  Shakespeare's 
time."  —  lower  =  lower  away  the  topmast?  —  33.  Bring  her  to  try 
wi'  the  main-course  =  see  if  she  will  bear  the  main-course  {i.e., 
mainsail),  and  whether  it  will  be  sutticient  [Capt.  Calver]?  "*To  try 
with  the  main-course '  was  a  technical  term  for  keeping  close-hauled,  and 
beating  up  into  the  eye  of  the  wind  when  there  was  too  strong  a  breeze 
blowing  for  a  ship  to  carry  her  topsail."  Phlllpotts.  — '  Try  (or  tj'ied) 
with  the  main-course  '  is  found  in  Capt.  John  Smith's  Sea  Grammar  (1027), 
Hakluyt's  Voyages  (1598),  and  Raleigh's  {i.e.,  Sir  Walter  Raleigh's)  Works 
(describing  a  voyage  in  1597).  —  A  ship's  'courses'  are  her  largest  lower 
sails,  **  which  contribute  most  to  give  her  way  through  the  water,  and 

enable  her  to  feel  her  helm  and  steer  her  course."    Holt.  —  A  plague . 

The  long  dash  after  '  plague '  in  the  folio  perhaps  indicates  some  profanity 
or  blasphemy.  See  38,  39 ;  V,  i,  218.  —  34.  weather  =  storm  ?  —  35.  office 
=  official  calls  or  commands  ? 

36.  Yet  again  I —The  boatswain  is  justly  impatient?  —  39.  inchari- 
table. Shakes,  uses  quite  indiscriminately  the  j)relix  uri-  or  in-.  —  Abbott, 
442. — 41.  you  w^horeson,  insolent.     Sailors  are  just  as  coarse  to-day. 

—  43.  for  drow^ning  =  in  respect  to  drowning  [Wright,  Hudson]  ?  either 
as  regards  or  against  [Abbott,  Rolfe,  Meiklejohn,  Deighton,  Phillpottsi? 

—  See  Gonzalo's  previous  speech  about  drowning.  —  45.  Lay  lier  a-hold 
=  keep  her  to  the  wind,  or  as  close  to  the  wind  as  possible,  so  as  to  hold 
or  keep  to  it  ?  —  two  courses  =  foresail  and  mainsail  ?  See  on  33.  —  The 
folio  reads,  "  Lay  her  a  hold,  a  hold,  set  her  two  courses  off  to  sea  againe, 
lay  her  off."    Capell  retains  this  reading;  but  John  Holt  (1749)  and  all 


SCENE  T.]  THE  TEMPEST.  29 


Enter  Mariners  wet. 

Mariners,  All  lost !  to  prayers,  to  prayers !  all  lost ! 

Boatswain,  What !  must  our  mouths  be  cold  ? 

Gonzalo.  The  king  and  prince  at  prayers!    Let's  assist 
them, 
For  our  case  is  as  theirs. 

Sebastian,  I'm  out  of  patience.  60 

Antonio.  We  are  merely  cheated  of  our  lives  by  drunk- 
ards. — 
This  wide-chapp'd  rascal,  —  would  thou  mightst  lie  drowning 
The  washing  of  ten  tides  ! 

Gonzalo.  He'll  be  hang'd  yet, 

Though  every  drop  of  water  swear  against  it, 
And  gape  at  wid'st  to  glut  him. 

subsequent  editors,  except  Capell,  punctuate  thus:  "Lay  her  a  hold,  a 
hold;  set  her  two  courses;  off  to  sea  again;  lay  her  off"  —  **it  being  a 
command,"  says  Holt,  **  to  set  these  two  larger  sails  in  order  to  carry  her 
off  to  sea  again,  she  being  too  near  the  shore.  To  *  lay  her  a  hold  '  signi- 
fies to  bring  her  to  lie  as  near  the  wind  as  she  can,  in  order  to  get  clear  of 
any  points,  or  head  of  land." 

48.  must  our  mouths  be  cold  =  must  we  drown  [Deighton]  ?  drink 
sea-water  instead  of  ardent  spirits  [Birch]  ?  must  we  die  [Rolfe,  Furness]  ? 
—  Their  mouths  had  been  pretty  hot  ?  See  V,  i,  218,  219.  — '  Mortify- 
ing groans'  cool  the  heart,  Mer.  of  Ven.,  I,  i,  82.  Allen  thinks  'cold 
orisons '  (*  cowardly  prayers ')  are  contrasted  with  '  brave  oaths,'  as 
Beaumont  and  Fletcher  have  it  in  The  Sea  Voyage,  I,  i,  an  imitation  of 
The  Tempest,    In  I,  ii,  220-222,  sighs  cool  the  air. 

"Thou  rascal,  thou  fearful  ro^ue,  thou  hast  been  praying !  .  .  . 
To  discourage  our  friends  with  your  cold  orisons  ?  " 

Phillpotts  interprets  thus:  "You  go  to  prayers;  we'll  stave  some  of  the 
puncheons  of  liquor  to  warm  our  mouths."  Hence  Antonio,  lines  51,  52, 
calls  them  drunkards.  This  interpretation  would  emphasize  ourf — See 
'red-hot  with  drinking,'  in  IV,  i,  171.  —  51.  merely  =  simply?  barely? 
absolutely?  Lat.  mer  us  =  pure,  unmixed.  —  Shakes,  often  uses  'mere' 
and  '  merely '  in  the  sense  of  absolute,  absolutely,  as  in  Hamlet,  I,  ii,  137. 
So  Bsicon,  Essay  5S. — 52.  wide-chapp'd  (wide-chopped)  =  opening  the 
mouth  wide  [Schmidt,  Meiklejohn]? — "Men  with  wide  chops  are  weak 
and  doltish."  Croft.  "As  he  opens  his  jaws  to  drink  now,  so  may  he 
have  to  drink  the  sea-water!  "  Phillpotts.  Do  not  lines  34,  38,  41,  and 
V,  i,  218-220,  suggest  that  it  is  his  clamor,  his  open-mouthed  shouting,  that 
gives  him  the  epithet?  —  The  washing  of  ten  tides  =  while  ten  tides 
ebb  and  flow  ?  —  Allusion  to  singular  mode  of  execution  of  pirates  in  Eng- 
land in  the  olden  time  —  hanged  on  the  shore  at  low-water  mark,  there  to 
remain  till  three  tides  had  overflowed  them  ?  Cited  by  Elze  from  Harri- 
son's Description  of  England.  —  Like  "I  would  have  him  nine  years 
a-killing,"  Othello,  TV,  i,  166.  — 53,  54,  Gonzalo  still  believes  "He  that's 
born  to  be  hanged  will  never  be  drowned"! — 55.  glut.  Latin  glutire, 
to  swallow :  gula,  throat.    Milton  uses  glutted,  for  swallowed,  Par.  Lost^ 


30  THE  TEMPEST.  [act  I. 

\^A  confused  noise  within.  ^  Mercy  on  us ! '  — 

'  We  split,  we  split ! '  —  ^  Farewell,  my  wife  and  children ! '  — 
^  Farewell,  brother ! '  — '  We  split,  we  split,  we  split ! '  — ]    57 

Antonio.  Let's  all  sink  with  the  king.  [Exit. 

Sebastian.  Let's  take  leave  of  him.  [Exit, 

Gonzalo.  Kow  would  I  give  a  thousand  furlongs  of  sea  for 
an  acre  of  barren  ground ;  long  heatli,  brown  furze,  any  thing. 
The  wills  above  be  done !  but  I  would  fain  die  a  dry  death. 

[Exit. 

X,  633. —61.  long  heath,  brown  furze.  Hanmer  (1744)  changed  this 
to  ling,  heath,  hroo)n,furz.  The  change  is  approved  by  Farmer,  Sidney 
Walker,  Dyce,  Wright,  Hudson,  Deighton,  PhiUpotts,  etc.  But  Furness 
says  as  follows:  **  The  insurmountable  difficulty  in  accepting  Hanmer's 
change  is,  to  me,  that  *  Long  Heath '  is  the  real  name  of  a  plant,  just  as 
much  as  is  '  Long  Purples.'  "  He  quotes  from  Lyte's  Herbal,  1576 :  ""  There 
is  in  this  country  two  kinds  of  Heath ;  one  which  beareth  his  iiowers  alongst 
the  stems,  and  is  called  'Long  Heath.'  "  Furness  adds:  "In  Hanmer's 
emendation  the  four  names  really  represent  only  two  plants.  ...  In 
Shakespeare's  time,  as  witness  Lyte,  *  ling '  and  *  heath  '  were  the  same, 
and  *furz'  and  'broom'  the  same.  Such  a  mere  bare  iteration,  without 
adding  anything  whatsoever  to  the  picture,  grates  me  as  somewhat  un- 
Shakespearian. 

Why  is  this  scene  mainly  prose  ?  —  Why  any  blank  verse  ?  —  What  pict- 
ures are  in  the  word-painting  ?  —  How  did  Shakespeare  get  his  knowledge 
of  technical  sailor  language  and  of  the  proper  management  of  a  ship?  — 
What  development  thus  far  of  characters  ?  —  What  lesson  is  taught  as  to 
artificial  rank  ?  —  Name  from  memory  the  successive  positions  of  the  ships 
and  expedients  resorted  to. 

Lord  Mulgrave,  a  distinguished  officer  in  the  British  naval  service,  com- 
municated to  Malone  the  following  analysis  of  the  succession  of  events  in 
managing  the  ship,  the  orders  given,  etc.,  in  the  first  scene :  — 

l8T  Position.  Ist  Position. 

Fall  to  *t  yarely,  or  we  run  ourselves  Land   discovered  under  the  lee ;    the 

aground.  wind  blowing  too  fresh  to  haul  upon  a 

wind  with  the  topsail  set.  The  first 
command  is  a  notice  to  be  ready  to  <>x- 
ecute  any  orders  briskly. 

2d  Position.  2d  Position. 

Tare,  yare,  take  in  the  topsail ;  blow  The  topsail  is  taken  in.    The  danger  in 

till  thou  burst  thy  wind,  if  room  enough.        a  good  sea-boat  is  only  from  being  too 

near  the  land  :  this  is  introduced  here  to 
account  for  the  next  order. 

3d  Position.  8d  Position. 

Down  with  the  topmast.    Yare,  lower,  The   gale   increasing,   the    topmast   is 

lower;  bring  her  to  try  with  the  main  struck,  to  take  the  weight  from  aloft, 
course.  make  the  ship  drift  less  to  leeward,  and 

bear  the  mainsail  under  which  the  ship  is 
laid  to. 
4tii  Position.  4th  Position. 

Lay  her  a-hold,   a-hold  ;   set  her  two  The  ship,  having  driven  near  the  shore, 

courses,  off  to  sea  again,  lay  her  off.  the  mainsail  is  hauled  up  ;  the  ship  wore, 

and  the  two  courses  set  on  the  other  tack, 
to  endeavor  to  clear  the  land  that  way. 


SCENE  II.]  THE  TEMPEST.  31 

Scene  II.     The  Island.     Before  Prosperous  Cell. 

Enter  Prospero  and  Miranda. 

Miranda.  If  by  your  art,  my  dearest  father,  you  have 
Put  the  wild  waters  in  this  roar,  allay  them. 
The  sky,  it  seems,  would  pour  down  stinking  pitch, 
But  that  the  sea,  mounting  to  the  welkin's  cheek, 
Dashes  the  fire  out.     0,  I  have  suffered 
With  those  that  I  saw  suffer !     A  brave  vessel. 
Who  had,  no  doubt,  some  noble  creature  in  her, 
Dash'd  all  to  pieces.     0,  the  cry  did  knock 

5th  Position.  5th  Position. 

We  split,  we  split.  The  ship,  not  able  to  weather  a  point, 

is  driven  on  shore. 

Grey  (in  Critical,  Historical,  and  Explanatory  Notes),  1754,  and  Maginn 
(in  Eraser's  Magazine),  1839,  call  attention  to  extraordinary  resemblances 
between  this  scene  and  the  description  of  the  tempest  in  Rabelais,  Book 
IV,  xviii-xxii,  which  had  not  been  translated  into  English  in  Shakespeare's 
time. 

Scene  II.  Prospero  is  not  Shakespeare,  but  the  play  is,  in  a  certain 
measure,  autobiographical.  ...  It  show^s  us,  more  than  anything  else, 
what  the  discipline  of  life  had  made  of  Shakespeare  at  fifty,  —  a  fruit  too 
fully  matured  to  be  suffered  to  hang  much  longer  on  the  tree.  Conscious 
superiority  untinged  by  arrogance,  genial  scorn  for  the  mean  and  base, 
mercifulness  into  which  contempt  enters  very  largely,  serenity  excluding 
passionate  affection  while  admitting  tenderness,  intellect  overtopping 
morality,  but  in  no  way  blighting  or  perverting  it,  —  such  are  the  mental 
features  of  him  in  whose  development  the  man  of  the  world  had  kept  pace 
with  the  poet,  and  who  now  shone  as  the  consummate  example  of  both.  — 
Garnett's  lining  Shakespeare,  1890. 

4.  welkin's.  A.  S.  wolken,  a  cloud.  —  **  Like  a  jewel  in  the  ear  of  cceZo, 
the  sky,  the  welkin,  the  heaven,"  Love's  Lab.  L.,  IV,  ii,  5.  —  clieek. 
Shakespeare  is  fond  of  this  personification.  **  The  cloudy  cheeks  of  heaven," 
Richard  II,  III,  iii,  56.  —  5.  Dashes.  In  Mer.  of  Venice,  II,  vii,  44,  45,  we 
read  of 

"  The  watery  kingdom  whose  ambitious  head 
Spits  in  the  face  of  heaven." 

See  Pericles,  III,  i,  1-6.  —  fire.  Dissyllable?  The  first  *  fire  '  is  such  in 
Julius  C,  III,  i,  172,  — 

'•  As.;?re  drives  out j^re,  so  pity  —  pity 
Hath  done  this  deed  on  Caesar." 

—  Abbott,  480,  says,  "Fear,  dear,  fire,  hour,  your,  four,  and  other  mono- 
syllables ending  in  r  or  i^e,  preceded  by  a  long  vowel  or  diphthong,  are 
frequently  pronounced  (in  Shakespeare)  as  dissyllables." — 6.  brave. 
Armoric  brav,  fine;  Scotch  braw,  handsome.  Ill,  ii,  99.  Milton  (Sam- 
son Agonistes,  717)  uses  *  bravery '  in  the  sense  of  splendor,  fine  dress. 
So  Shakes,  and  Bacon.  —  7.  Who  =  which.  —  The  ship  is  thought  of  as  a 
person  [Wright,  Meiklejohn,  etc.]  ?  — creature.    Collective  here  [Fur^ 


32  THE    TEMPEST,  [act  I. 

Against  my  very  heart !     Poor  souls,  they  perish'd ! 

Had  I  been  any  god  of  power,  I  would  10 

Have  sunk  the  sea  within  the  earth,  or  ere 

It  should  the  good  ship  so  have  swallow'd  and 

The  fraughting  souls  within  her. 

Prospero.  Be  collected ; 

No  more  amazement.     Tell  your  piteous  heart 
There's  no  harm  done. 

Miranda.  0,  woe  the  day ! 

Prospero.  No  harm. 

I  have  done  nothing  but  in  care  of  thee, 
Of  thee,  my  dear  one,  thee,  my  daughter,  who 
Art  ignorant  of  what  thou  art,  nought  knowing 
Of  whence  I  am,  nor  that  I  am  more  better 
Than  Prospero,  master  of  a  full  poor  cell,  20 

And  thy  no  greater  father. 

Miranda.  More  to  know 

Did  never  meddle  with  my  thoughts. 

Prospero.  'Tis  time 

I  should  inform  thee  farther.     Lend  thy  hand, 
And  pluck  my  magic  garment  from  me.  —  So. 
Lie  there,  my  art.  —  Wipe  thou  thine  eyes  ;  have  comfort. 
The  direful  spectacle  of  the  wrack,  which  touched 
The  very  virtue  of  compassion  in  thee, 

ness]  ?  — 10.  of  power  = 'Jpowerful ?  — 11.  or  ere  =  before  ever?  See 
Eccleslastes,  xii,  6.  —  J^Ve  is  added  to  or  for  emphasis  {Maefz.,  iii,  451; 
Abbott,  131;  Wright,  Rolfe,  Furness,  etc.]?  "  Or,  in  this  sense,  is  a  cor- 
ruption of  A.  S.  ser  (Eng.  ere)  =  before."  Abbott.  Like  *  very,  very,* 
*  verily,  verily.'  See  V,  i,  103;  also  our  ed.  of  Mdcbeth,  IV,  iii,  173,  and 
our  Hamlet,  I,  ii,  147.  — 13.  fraughting.  Cotgrave's  French  and  Enc/. 
Dictionary  (1632)  defines /reier,  '  to  hire  a  ship  of  burden,  and  to  frauglit 
or  load  her,  hired  ; '  also  \freture,  a  fraughting,  loading,  or  furnishing  of 
a  (hired)  ship.'  —  Swed.  frakt ;  Dan.  frayt,  a  cargo  ;  fragte,  to  freight.  — 
Mer.  of  Venice,  II,  viii,  30,  has  *  a  vessel  of  our  country,  richly  frauglit.'  — 
15.  woe  the  day  =  woe  to  the  day?  — 11).  Of  w^hence.  Redundancy? 
—  more  better.  Double  comparatives  and  superlatives  for  greater  em- 
phasis are  frequent  in  Shakes.  vSee  line  438;  Mer.  of  Ven.,  IV,  i,  242. — 
20.  full  poor.  See  line.  155 ;  also  3<)5.  —  22.  meddle  with  =  trouble 
=  mix  with  [Stevens,  Meiklejohn,  Deighton]  ?  mingle  with,  interfere 
with  [Collier,  Rolfe,  Ritson]  ? 

24.  So.  Spoken  in  soliloquy?  to  Miranda  [Furness]  ?  — 25.  Lie  there, 
my  art.  '*  At  night,  when  he  put  off  his  gown,  he  used  to  say,  '  Lie 
there,  my  Lord  Treasurer.'  "  So  says  Thomas  Fuller,  in  his  Holy  State 
(lt)42),  of  Lord  Burleigh.  —  26.  wrack.  Always  so  spelled  in  Shake- 
speare. See  Macbeth,  our  ed.,  I,  iii,  114.  White  remarks  that  "A  delicate 
ear  will  perceive  that  something  is  lost  in  point  of  melody  by  the  uucalhMU 
for  change  of  *  wrack '  to  wreck."  —27.  virtue  =  the  most  elUcacious 


KTENE  II.]  THE  TEMPEST.  33 

I  have  with  such  provision  in  mine  art 

So  safely  ordered,  that  there  is  no  soul  — 

No,  not  so  much  perdition  as  an  hair  30 

Betid  to  any  creature  in  the  vessel 

Which  thou  heard' st  cry,  which  thou  saw'st  sink.    Sit  down ; 

Eor  thou  must  now  know  farther. 

Miranda.  You  have  often 

Begun  to  tell  me  what  I  am,  but  stopped 
And  left  me  to  a  bootless  inquisition, 
Concluding,  — '  Stay :  not  yet.' 

Prospero.  The  hour's  now  come ; 

The  very  minute  bids  thee  ope  thine  ear : 
Obey,  and  be  attentive.     Canst  thou  remember 
A  time  before  we  came  unto  this  cell  ? 

I  do  not  think  thou  canst,  for  then  thou  wast  not  40 

Out  three  years  old. 

Miranda.  Certainly,  sir,  I  can. 

Prospero.    By  what  ?  by  any  other  house  or  person  ? 
Of  any  thing  the  image  tell  me  that 
Hath  kept  with  thy  remembrance. 

Miranda.  'Tis  far  off, 

And  rather  like  a  dream  than  an  assurance 
That  my  remembrance  warrants.     Had  I  not 
Eour  or  five  women  once  that  tended  me  ? 

Prospero.    Thou  hadst,  and  more,  Miranda.    But  how  is  it 
That  this  lives  in  thy  mind  ?     What  seest  thou  else 
In  the  dark  backward  and  abysm  of  time  ?  50 


part — the  energetic  quality  [Johnson]?  essence,  soul  [Rolfe]  ?  —  28.  pro- 
vision. Dyce,  quoting  II,  i,  295,  changes  this  to  'p/'evision.'  Why  is 
*  provision  '  better  or  worse  ?  —  29.  soul.  For  *  soul,'  Theobald  suggested 
foyle;  Capell,  loss;  Kenrick,  ill;  Holt,  soyl  {i.e.  soil),  approved  by  Dr. 
Johnson;  Rowe,  Pope,  Hanmer,  and  Warburtou,  soul  lost;  Bailey,  evil; 
Gould,  hurte.  The  recent  critics  prefer,  with  Heath  and  Stevens,  to  regard 
the  construction  as  an  anacoluthon.  The  syntax  seems  designedly  imper- 
fect ;  but  the  word  perdition,  literally  loss,  makes  the  sense  clear.  —  30. 
hair.  **  The  tithe  of  a  hair  was  never  lost  in  my  house  before,"  1  Henry 
IV,  HI,  iii,  53,  54.  —  31.  Betid.  A.  S.  tidan,  to  happen ;  Mid.  Eng.  he-  or 
hi-,  causing.  Be-  gives  a  transitive  force.  — 32.  Which  .  .  .  which. 
Distribute. 

35.  bootless.  A.  S.  hot  =  profit.  — inquisition.  Lat.  in.  into  :  quser^re, 
to  seek;  inquisitio,  inquiry.  — 41.  Out  =  beyond?  out  of?  past  [Abbott]? 
fully  ?  quite  ? — 47.  tended.  See  line  6,  sc.  i.  —  50.  backward.  So '  inward  * 
in  Sonnet  cxxviii,  and  Meas.for  Meas.,  Ill,  ii,  117,  and  '  outward'  in  Son^ 
nM  Ixix,  are  nouns.  —  abysm.  Old  French  ahysme,  French  ahime ;  from 
Greek  a^v<r<ros,  abus90s,  bottomless ;  f r.  d  privative,  and  /Suorao?,  s^a-bottom. 


34  THE   TEMPEST.  [act  I. 

If  thou  remember'st  aught  ere  thou  cam'st  here, 
How  thou  cam'st  here  thou  mayst. 

Miranda.  But  that  I  do  not. 

Prospero.    Twelve  year  since,  Miranda,  twelve  year  since, 
Thy  father  was  the  Duke  of  Milan  and 
A  prince  of  power. 

Miranda.  Sir,  are  not  you  my  father  ? 

Prospero.    Thy  mother  was  a  piece  of  virtue,  and 
She  said  thou  wast  my  daughter ;  and  thy  father 
Was  Duke  of  Milan  ;  and  his  only  heir 
And  princess  no  worse  issued. 

Miranda.  O  the  heavens ! 

What  foul  play  had  we,  that  we  came  from  thence  ?  60 

Or  blessed  was  't  we  did. 

Prospero.  Both,  both,  my  girl ; 

By  foul  play,  as  thou  say'st,  were  we  heav'd  thence, 
But  blessedly  holp  hither. 

Miranda.  0,  my  heart  bleeds 

To  think  o'  the  teen  that  I  have  turn'd  you  to, 
Which  is  from  my  remembrance !     Please  you,  farther. 

—  53.  Twelve  year.  *'  In  the  older  stages  of  the  language,  year,  goat, 
swine,  etc.,  being  neuter  nouns,  underwent  no  change  in  the  nominative 
case  of  the  plural  number."  Morris  and  SJceat.  —  The  first  *  year  '  in  this 
line  is  said  to  have  the  force  of  a  dissyl.  But  is  a  dissyllable  really  neces- 
sary ?  The  line  has  five  accents  without  such  splitting  of  *  year.'  May  we 
scan  thus  ? 

Twelve  |  year  since  [  Miran  |  da,  tw61ve  |  year  since. 

Abbott  (480)  marks  thus :  — 

Twelve  ye  !  ar  since  |  Miran  |  da  twelve  |  year  since. 

Furness  well  remarks,  "  By  such  a  division  and  prolongation  of  *year  '  an 
emphasis  is  imparted  which  does  not  befit  the  sense."  —  55.  Sir.  Respect- 
ful? Note  that  in  this  dialogue  Miranda  says  you,  Prospero  says  thou. 
Inference?  —  56.  piece  of  virtue  =  sample  or  perfect  specimen  of  virtue 
[Wright]  ?  model,  masterpiece,  of  virtue  [Rolfe]  ?  a  portion  of  virtue  itself 

—  In  Ant.  and  Cleop.,  Augustus  Caesar  calls  his  sister  Octavia  *  a  piece  of 
virtue.'  —  58.  And  princess.  The  folio  has  a  semicolon  after  princess. 
Hence,  Pope  changed  and  to  a.  Many  editors  have  adopted  this  emenda- 
tion ;  but  by  erasing  the  semicolon  we,  perhaps,  avoid  the  need  of  other 
change.  Hanmer  prints  *  thou  his  only  heir.'  *'  No  worse  issued  was  his 
only  heir  and  princess."  Furness,  after  Kniyht.  Judgment  on  these 
changes?  —  63.  holp.  Shakespeare  uses  holp  19  times;  helped,  6. — 
Abbott,  343.  —  In  Luke,  i,  54,  we  read  "  He  hath  holpen  his  servant  Israel." 
The  tendency  in  Shakespeare's  age  was  to  drop  the  -en. 

64.  teen  (A.  S.  teona,  injury,  wrong;  accusation)  =  grief,  sorrow, 
trouble?  — 65.  f rom  =  away  from  [Rolfe,  Wright]?  out  of  [Phillpotts] ? 
quite  gone  from  [Meikleiohn]  ?  In  Julius  Cxs.,  II,  i,  196,  we  have  '  Quite 
from  the  maiu  opinion  he  held  once.'     So  Macbethf  our  ed.,  Ill,  i,  99, 


SCENE  IT.]  THE  TEMPEST,  36 

Prospero.   My  brother,  and  thy  uncle,  calPd  Antonio,  — 
I  pray  thee,  mark  me,  —  that  a  brother  should 
Be  so  perfidious  !  —  he  whom,  next  thyself, 
Of  all  the  world  I  lov'd,  and  to  him  put 
The  manage  of  my  state ;  as  at  that  time  70 

Through  all  the  signiories  it  was  the  first, 
And  Prospero  the  prime  duke,  being  so  reputed 
In  dignity,  and,  for  the  liberal  arts, 
Without  a  parallel ;  those  being  all  my  study, 
The  government  I  cast  upon  my  brother. 
And  to  my  state  grew  stranger,  being  transported 
And  rapt  in  secret  studies.  —  Thy  false  uncle  — 
Dost  thou  attend  me  ? 

Miranda.  Sir,  most  heedfully. 

Prospero.   Being  once  perfected  how  to  grant  suits, 
How  to  deny  them,  who  to  advance,  and  who  80 

To  trash  for  overtopping,  new  created 

131 ;  and  iv,  36.  —  67.  My  brother,  and  thy  uncle.  Note  here  the  long 
parenthesis  extending  from  line  67  to  Thy  false  uncle,  line  77.  Thoughts 
crowd  upon  his  brain  faster  than  his  tongue  can  formulate  them?  Point 
out  the  anacolutha.  —  70.  manage.  A  technical  term  from  horsemanship  ? 
So  in  1  Henry  IV,  II,  iii,  45,  Mer.  of  Ven.,  Ill,  iv,  25.  —  as  =  the  fact  being? 
• — I  call  him  perfidious  because  of  what  I  am  about  to  say.  —  as  at  that 
^ime  =  because  then?  Prof.  G.  Allen  (Phila.  Sh.  Soc,  1864)  in  a  very 
learned  note  argues  strongly  that  the  phrase  '  as  at  that  time '  means  almost 
or  exactly  then,  the  *  as  '  being  redundant.  He  quotes  *  as  at  this  time,* 
which  he  says  means  Jiow  in  the  Prayer  Book;  thus:  "Almighty  God, 
who  hast  given  us  thy  only-begotten  Son  to  take  our  nature  upon  him,  and 
as  at  this  time  to  be  born,"  etc.  — 71.  **  Milan  claims  to  be  the  first  Duchy 
in  Europe."  Bolero  (1630) .  —  signiories  =  states  of  northern  Italy  owing 
feudal  obedience  to  the  Holy  Roman  Empire.  --Lat.  senior,  elder ;  Mediaeval 
Latin,  senior,  lord;  French  seigneur,  Ital.  signior,  a  lord.  —  The  Visconti 
of  Milan  were  perpetual  vicars  of  the  Emperor  in  Italy.  Robertson's 
Charles  V.  —  arts  =  arts  becoming  a  gentleman,  tending  to  improve  the 
mind  [Schmidt]  ?  —  Technically  the  Lat.  artes  liber  ales  were,  in  the  Middle 
Ages,  grammar,  logic,  rhetoric,  arithmetic,  geometry,  music,  and  astron- 
omy. In  more  recent  times,  history,  philosophy,  and  those  other  branches 
usually  required  for  the  degree  of  Bachelor  of  Arts  or  Master  of  Arts,  are. 
included. 

76.  state  =  dignity  ?  pomp?  political  body  governed,  body  politic 
[Schmidt]?  —  77.  rapt.  Lat.  rapgre,  to  seize,. snatch  away.  —  80.  who. 
"  There  is  no  doubt  that  *  who  '  was  in  Shakespeare's  time  frequently  used 
for  the  objective  case,  as  it  still  is  colloquially."  Clark  &  Wright. 
Abbott,  274.  See  line  231 ;  IV,  i,  4.  —  81.  trash  for  overtopping.  ''*  A 
blending  of  metaphors.  *  Trash '  refers  to  hunting,  and  *  overtop  '  to  gar- 
dening, or,  at  least,  it  cannot  refer  to  hunting."  Furness.  *  Trash'  is 
defined  by  Schmidt,  to  lop,  to  crop.  So  Warburton  and  Steevens.  White 
says  "  *  trash'  was  hunting  slang."  Staunton  says,  "  In  the  present  day 
sportsmen  check  the  speed  of  very  fleet  hounds  by  tying  a  rope,  called  a 
*  dog-trash,'  round  their  weeks,  and  letting  them  trail  it,"  etc.  —  Icel. 


36  THE  TEMPEST.  [act  I. 

The  creatures  that  were  mine,  I  say,  or  changed  'em, 

Or  else  new  formed  'em ;  having  both  the  key 

Of  officer  and  office,  set  all  hearts  i'  the  state 

To  what  tune  pleased  his  ear,  that  now  he  was 

The  ivy  which  had  hid  my  princely  trunk, 

And  suck'd  my  verdure  out  on  't.  —  Thou  attend'st  not. 

Miranda.    0,  good  sir,  I  do ! 

Prospero.  I  pray  thee,  mark  me. 

I,  thus  neglecting  worldly  ends,  all  dedicated 
To  closeness  and  the  bettering  of  my  mind  90 

With  that  which,  but  by  being  so  retired, 
O'er-priz'd  all  popular  rate,  in  my  false  brother 

tros,  rubbish,  leaves  and  twigs  picked  up  and  used  for  fuel ;  Norw.  tros, 
fallen  twigs,  half-rotten  branches  easily  broken.  — '  Trash  '  means  crash- 
ings  ;  i.e.,  bits  cracked  off.  Skeat.  —  Shakes,  turns  nouns  at  will  into  verbs. 
If  the  metaphor  suggests  trees  or  plants,  then  the  tallest,  the  one  overtop- 
ping, is  not  cut  off,  but  trashed,  i.e.,  its  top  beaten  down  or  broken  into 
twigs  and  dry  branches,  etc.?  —  If  the  metaphor  suggests  hunting  dogs, 
then  overtopping  is  outstripping?  Visiting  the  Edinburgh  High  School  in 
1882,  the  present  editor  repeatedly  heard  the  master  call  the  boy  at  the 
head  of  his  class  the  *  top  boy ' !  —  Choose  between  these  interpretations ! 
There's  vegetation  enough  in  lines  8G,  87.  But  see  Othello,  II,  i,  290;  Ant. 
and  Cleop.,  IV,  xii,  23,  24;  and  Furness.  —  83.  key  =  tuning-fork  [Phill- 
potts]  ?  tuning-key  for  the  harpsichord,  etc.  [Wright,  Rolfe,  Hudson,  etc.]  ? 
*'  I  think  the  first  and  obvious  meaning  is  the  same  as  when  we  speak  of 
the  *  keys  of  office ' ;  then,  secondly,  by  the  association  of  ideas,  this  *  key ' 
suggested  the  *  time  *  which  follows."  Furness.  Choose !  —  84.  Of  officer, 
etc.    Abbott,  497,  marks  desperately  for  scanning,  thus :  — 

Of  offic  I  er,  and  off  ]  ice  set  |  all  hearts  |  in  the  (i'  th)  state. 

Well?  See  on  lines  103,  165.  — 85.  that  =  so  that?  Bacon  in  his  Essaijs 
uses  'that'  six  or  seven  times  for  'so  that.'  Abbott,  283.-86,  87.  ivy 
.  .  •  suck'd.  The  ivy  was  supposed  parasitic.  Erroneously?  See  Ella- 
combe's  Plant  Lore  of  Shakespeare.— liid  my  princely  trunk.  "I 
recollect  hearing  a  traveller  of  poetic  temperament  expressing  the  kind  of 
horror  he  felt  in  beholding  on  the  banks  of  the  Missouri  an  oak  of  pro- 
digious size,  which  had  been  in  a  manner  overpowered  by  an  enormous 
wild  grape-vine.  The  vine  had  clasped  its  huge  folds  round  the  trunk,  and 
from  thence  had  wound  about  every  branch  and  twig,  until  the  mighty 
tree  had  withered  in  its  embrace.  It  seemed  like  Laocoon  struggling  inef- 
fectually in  the  hideous  coils  of  the  monster  Python."  Irving.  —87.  on 't. 
Often  Shakes,  uses  on  for  of.  Abbott,  182.  So,  now,  in  rapid  familiar 
conversation  ?    Allowable  ? 

89.  I,  thus,  etc.  Scan.  —  dedicated.  Shakes,  often  omits  the  -d  or 
-ed  after  the  t  sound.  See  on  line  US. —  Abbott,  342.— 90.  closeness  = 
privacy,  retirement,  seclusion?  In  Luke,  ix,  36;  Macbeth,  III,  v,  7,  and 
elsewhere  in  the  Bible  and  Shakespeare,  'close  '  =  secret.  —  Lat.  clavMre, 
to  shut  ;  clausum,  an  enclosed  place ;  French  cloitre ;  Eng.  cloister. 
91.  but  by  being,  etc.  =  were  it  only  for  the  retirement  it  procured  me 
[Rolfe,  Phillpotts]  ?  except  for  the  fact  that  they  were  so  retired,  or  that  I 
was  so  retired  [Wright,  Deighton,  Meiklejohn  Hudson]  ?  —  92.  O'er-prized 
=  surpassed  in  value  ?—  hskt.pretium,  price.—  rate  =  estimation  ?  esteem  ? 


SCENE  II.]  THE  TEMPEST.  37 

Awaked  an  evil  nature ;  and  my  trust, 

Like  a  good  parent,  did  beget  of  him 

A  falsehood,  in  it's  contrary  as  great 

As  my  trust  was ;  which  had  indeed  no  limit, 

A  confidence  sans  bound.     He  being  thus  lorded, 

Not  only  with  what  my  revenue  yielded, 

But  what  my  power  might  else  exact  —  like  one 

Who  having  into  truth,  by  telling  of  it,  100 

Made  such  a  sinner  of  his  memory. 

To  credit  his  own  lie  —  he  did  believe 

He  was  indeed  the  duke,  out  o'  the  substitution, 

And  executing  the  outward  face  of  royalty, 

With  all  prerogative ;  hence  his  ambition 

Growing,  —  dost  thou  hear  ? 

Does  it  mean  that  the  value  was  greater  than  any  of  the  people  would  have 
thought  ?  or  greater  than  popular  applause  or  esteem  would  have  been  to 
him  ?  —  See  II,  i,  106.  — 93.  Aw^ak'd.  Shakes,  uses  this  and  never  *  awoke/ 
nor  '  woke.*  Note  the  continual  personification.  —  94.  good  parent,  etc. 
See  the  Latin  adage,  Herourn  filii  noxse,  *  heroes'  sons  no  good  ! '  The 
Greek  proverb  is  substantially  the  same  !  So,  aforetime,  "  Ministers'  sons 
and  deacons'  daughters  "  !  — 95.  it's.  See  line  392.  —  Its  was  just  coming 
into  use.  The  folio  (1623)  has  *  its '  once  ;  *  iVs  '  9  times ;  *  z^,'  in  a  posses- 
sive sense,  14  times.  King  James's  version  of  the  Bible  (1611)  uses  'its* 
once  {Levit.y  xxv,  5) ;  Milton  (1608-1674),  3  times;  Florio's  translation  of 
Montaigne  (1598),  quite  often,  —  contrary  =  opposite  (nature)  [Wright]  ? 
— 97.  sans.  Lat.  sine,  without;  Old  Fr.  sens;  Fr.  sans.  The  poets  tried 
hard  to  naturalize  in  England  this  convenient  monosyllable.  Thus  Shakes, 
in  As  You  Like  It,  II,  vii,  166:  *  Sans  teeth,  sans  eyes,  sans  taste,  sans 
everything.'  —  lorded  =  made  a  lord  [Rolfe]  ?  invested  with  lordship 
[Phiilpotts]  ?  invested  as  a  lord  [Deighton]  ?  invested  with  the  dignity  and 
power  of  a  lord  [Wright]?  —  98.  revenue.  Shakes,  places  the  accent 
sometimes  on  the  first  and  sometimes  on  the  second  syllable  of  this 
word. 

100.  into  truth.  *  Into  '  here  has  been  changed  to  '  unto  *  by  Warburton 
(1747)  and  nearly  all  subsequent  editors,  including  among  others  Knight, 
Singer,  White,  Phiilpotts,  Rolfe,  Hudson,  Wright,  and  Meiklejohn;  and 
their  comments  have  been  voluminous  and  vast.  See  Furness.  *'  Shake- 
speare's own  words,  which  all  understand,  are  vastly  to  be  preferred  to  any 
modification,  which,  however  acceptable  to  him  who  proposes  it,  appears 
to  be  incomprehensible  to  all  others."  Furness.  —  Interpret  thus :  Having, 
by  telling  his  lie  (often),  made  his  memory  such  a  siuner  (as  to  realities), 
that  he  credited  his  own  lie  into  truth  {i.e.,  really  believed  his  lie  to  be 
true),  he  believed  he  was,  etc.  — 102.  To  credit  his  own  lie  into  truth.  So 
Dr.  South  says,  "Vice  can  never  be  praised  into  virtue."  Sermons,  ed. 
1744.  Supply  as  before  tof  Abbott,  281.  — 103.  He  was  indeed.  It  is 
hard  to  scan  this  line  without  making  it  an  Alexandrine  (twelve-syllabled), 
whereat  Procrustean  critics  are  greatly  distressed.  See  on  lines  83,  165. 
The  fact  is,  Shakespeare  was  under  no  obligation  to  please  the  grammarians 
and  prosodists  of  his  own  time,  much  less  of  subsequent  ages.  — 104.  face, 
Latin /ac/es,  the  shape,  form,  appearance ; /acSre,  to  make.  — 105.  pre- 
rogative (Lat.  prsBf  before;  rogare^  to  ask;  prserogativus,  one  who  is 


38  THE   TEMPEST.  [acT  I. 

Miranda.  Your  tale,  sir,  would  cure  deafness. 

Prospero.    To  have  no  screen  between  this  part  he  play'd 
And  him  he  play'd  it  for,  he  needs  will  be 
Absolute  Milan.     Me,  poor  man !  — my  library 
Was  dukedom  large  enough.     Of  temporal  royalties  iio 

He  thinks  me  now  incapable  ;  confederates  — 
So  dry  he  was  for  sway  —  wi'  the  King  of  Naples 
To  giv^e  him  annual  tribute,  do  him  homage. 
Subject  his  coronet  to  his  crown,  and  bend 
The  dukedom  yet  unbowed  —  alas,  poor  Milan  !  — 
To  most  ignoble  stooping. 

Miranda.  0  the  heavens  ! 

Prospero.   Mark  his  condition,  and  the  event;   then  tell 
me 
If  this  might  be  a  brother. 

Miranda.  I  should  sin 

To  think  but  nobly  of  my  grandmother. 

Prospero.  Now  the  condition.     120 

This  king  of  Naples,  being  an  enemy 
To  me  inveterate,  hearkens  my  brother's  suit ; 
Which  was,  that  he,  in  lieu  o'  the  premises, 
Of  homage  and  I  know  not  how  much  tribute, 
Should  presently  extirpate  me  and  mine 

asked  his  opinion  first)  =  special  privilege?  pre-eminent  right  by  reason  of 
office  or  position  ?     Scan. 

106.  sir.  Line  55.  — 107.  screen.  Meaning  Prospero  [Daniel]?  — 
108.  him  =  Antonio  himself?  —  All  was  in  Prospero's  name,  Antonio 
being  the  '  power  behind  the  throne  greater  than  the  throne  '  ?  Antonio 
would  not  have  even  a  nominal  duke,  Prospero,  between  him  and  *  the 
outward  face  of  royalty'  —  between  the  assumed  role  and  the  reality? 
— 109.  Milan.  Putting  the  name  of  the  country  or  state  for  that  of  its 
ruler?  Accent?— nie.  ^6&of^,  201.  — 111.  confederates.  Lat.co?<,  to- 
gether, with, /ce(ius, /ceteris,  a  league,  compact.  In  Henry  VIII,  I,  ii,  .*i, 
*  confederacy '  =  conspiracy,  plot.  — 112.     dry  =  thirsty  ? 

117.  condition  =  terms  of  compact  with  the  King  of  Naples?  —  situa- 
tion?—  event.  Lat.  e,  out,  venire,  to  come.  — 118.  might  =  could  ? 
Abbott,  312.  — 119.  but  nobly  — merely  nobly?  otherwise  than  nobly? 
—  Abhotty  122.  —Is  there  here  a  subtle  transfer  of  the  quality  of  nobleness 
from  its  proper  object  to  the  process  of  thinking  ?    Express  the  idea  in  i)lain 

Erose.  — 120.  good  wombs  have  borne  bad  sons.  Shakespeare  might 
ave  thought  of  'Sidney's  sister,  Pembroke's  mother.'  — 122.  hearkens 
.  .  .  suit.  So  'listening  their  fear,'  Macbeth,  II,  ii,  28;  'listen  great 
things,'  Julius  C,  IV,  i,  41,  etc. ;  Comas,  K){).  — Abbott,  129.  — 123.  lieu. 
Lat.  locus,  Fr.  lieu,  place.  See  our  ed.  of  As  You  L.  I.,  II,  iii,  (55.— 
premises.  Lat.  prse,  before;  mitt^re,  to  send;  p7'se7nisstun,  thing  al- 
ready stated  or  premised.  —  In  lieu  of  the  premises.  Technical  phraseol- 
ogy? of  logic?  of  law?— See  In  lieu  whereof,  Mer.  of  Ven.,  IV,  i,  401.— 
125.    presently  =  immediately?    Often  so  in   Shakes.    See  our  ed.  of 


SCENE  II.]  THE  TEMPEST.  39 

Out  of  the  dukedom,  and  confer  fair  Milan, 

With  all  the  honors,  on  my  brother ;  whereon, 

A  treacherous  army  levied,  one  midnight 

Fated  to  the  purpose,  did  Antonio  open 

The  gates  of  Milan ;  and,  i'  the  dead  of  darkness,  130 

The  ministers  for  the  purpose  hurried  thence 

Me  and  thy  crying  self. 

Miranda.  Alack,  for  pity  ! 

I,  not  remembering  how  I  cried  out  then, 
Will  cry  it  o'er  again ;  it  is  a  hint 
That  wrings  my  eyes  to  't. 

Prospero.  Hear  a  little  further, 

And  then  I'll  bring  thee  to  the  present  business 
Which  now's  upon  's  ;  without  the  which  this  story 
Were  most  impertinent. 

Miranda.  Wherefore  did  they  not 

That  hour  destroy  us  ? 

Pi'ospero.  Well  demanded,  wench ; 

My  tale  provokes  that  question.     Dear,  they  durst  not,     140 
So  dear  the  love  my  people  bore  me,  nor  set 
A  mark  so  bloody  on  the  business,  but 
With  colors  fairer  painted  their  foul  ends. 
In  few,  they  hurried  us  aboard  a  bark, 
Bore  us  some  leagues  to  sea,  where  they  prepared 
A  rotten  carcass  of  a  butt,  not  rigg'd, 
Nor  tackle,  sail,  nor  mast ;  the  very  rats 
Instinctively  have  quit  it.     There  they  hoist  us, 

Hamlet,  II,  ii,  578.  — 131.  ministers.  Lat.  minister,  servant;  minor, 
less  ?  So  master  is  from  Lat.  magis,  more ;  magister,  master.  — 134.  hint 
=  suggestion?  allusion?  subject?  cause?  motive?  —  Dan.  ymte,  to  whis- 
per. The  meaning  is  affected  by  O.  Eng.  henten,  fr.  A.  S.  h^ntan,  to  catch, 
seize.  Wore.  — 138.  impertinent.  Lat.  w,  not ;  per^mere,  to  pertain  to, 
concern,  be  relevant. 

139.  wench.  A.  S.  wencle,  a  maid?  vjancol,  'tottery,'  shaky.  The 
word  was  used  to  express  fondness,  with  joking  good-natured,  simulated 
contempt;  like  'little  rogue'!  — 144.  In  few.  So  Hamlet,  I,  iii,  126,  etc. 
—  Lat.  idiom?  Lat.  pa?/cis  (verbis)  =  in  few  (words). — 146.  butt.  The 
folio  has  *  Butt.'  Many,  including  White,  Hudson,  and  Rolfe,  have  changed 
it  to  'boat,'  following  Dryden's  version  and  RoAve  (1709).  But  a  butt  is 
perhaps  the  Italian  botto,  defined  as  a  '  galliot,'  the  hull  having  '  very 
rounded  ribs,  very  little  run  (nautical),  and  iiattish  bottom,  the  ribs  join- 
ing the  keel  almost  horizontally,  a  sort  of  tub  of  a  thing.'  Nicholso7i,  ap- 
proved by  Furness. — We  venture  to  suggest  another  interpretation  as 
follows :  Prospero  is  speaking  in  strong  disgust,  and  he  uses  '  butt '  simply 
in  contempt,  as  sailors  use  tub  or  scoio.  A.  S.  byt,  a  cask.  — 148.  have 
quit.    In  his  vivid  poetic  imagination  he  lives  over  again  the  experience 


40  THE  TEMPEST.  [ACT  I. 

To  cry  to  the  sea  that  roar'd  to  us  ;  to  sigh 

To  the  winds,  whose  pity,  sighing  back  again,  160 

Did  us  but  loving  wrong. 

Miranda.  Alack,  what  trouble 

Was  I  then  to  you ! 

Prospero.  O,  a  cherubin 

Thou  wast,  that  did  preserve  me  !     Thou  didst  smile, 
Infused  with  a  fortitude  from  heaven, 
When  I  have  deck'd  the  sea  with  drops  full  salt, 
Under  my  burthen  groan'd ;  which  rais'd  in  me 
An  undergoing  stomach,  to  bear  up 
Against  what  should  ensue. 
.    Miranda.  How  came  we  ashore  ? 

Prospero.    By  Providence  divine 
Some  food  we  had  and  some  fresh  water  that  160 

of  that  dreadful  night ;  the  past  is  again  present,  and  he  says  *  have  quit ' ! 
But  many  of  the  prosy  commentators  change  have  to  'had'!  — See  the 
present  for  the  past  in  line  205.  — See  *  Vision  '  in  the  treatises  on  rhetoric. 

—  quit.    See  on  *  dedicated,'  line  89.  —hoist.    This  may  be  for  '  hoisted  '  ? 

—  Ill,  i,  10;  Ahhott,  341,  342.— 152.  cherubin.  Shakes,  uses  'clierub'  in 
Hamlet,  IV,  iii,  47 ;  and  *  cherahins '  as  tlie  plural  in  Mer.  of  Venice,  V,  i, 
62,  etc.  — 155.  deck'd  =  sprinkled  (for  *  degged  ')  [Collier,  Malone,  Staun- 
ton, Singer,  Dyce,  White,  Rolfe,  Wright,  Deighton,  Phillpotts]  ?  covered 
[Heath,  Schmidt,  Johnson,  MeiklejohnJ  ?  adorned  [Holt]  ?  —  Hanmer  would 
read   'brack'd';   Warburton,   *  rnock'd ' ;   Rann,  'dew'd';   Johnson   (?), 

*  fleck'd' ;  Thos.  White,  *  eik'd  ' ;  Hudson,  *  degg'd  ' ;  Bailey,  *  leck'd.'  We 
venture  to  suggest  that  all  the  emendations  seem  steps  prose-ward ;  that 
the  usual,  if  not  uniform,  sense  of  'deck'  in  Shakes,  is  adorii;  and  that 
many  times  in  Shakes,  tears  are  pearls,  as  in  Moore's  Light  of  the 
Harem,^ 

"  And  precious  their  tears  as  that  rain  from  the  sky 
Which  turns  into  pearls  as  it  falls  in  the' sea," 

In  Sonnet  xxxiv,  13,  **  Those  tears  are  pearl "  ;  in  lAicrece,  1213,  tears  are 

*  brinish  pearl ' ;  in  Venus  and  Adonis  tears  are  '  like  pearls  in  glass  ' ; 
King  John,  II,  i,  169,  *  heaven-moving  pearls ' ;  Two  Gentlemen  ofVer.,  II, 
1,  224,  *  a  sea  of  melting  pearl  which  men  call  tears ' ;  Richard  III,  IV,  iv, 
323,  324, 

"  Those  liquid  drops  of  tears  that  you  have  shed 
Shall  come  again  transformed  to  orient  pearl  "  ; 

in  Lear,  IV,  iii,  22,  '  as  pearls  from  diamonds  dropped.'  May  not  *  drops 
full  salt '  =  pearls  ?    See  on  line  397. 

157.  undergoing= enduring,  sustaining  ?  —  stomach  =  stubborn  reso- 
lution? courage?  — See  Jul.  Csas.,  V,  i,  (yi>',  Henry  V,  IV,  iii,  a5,  etc.— 
Cotgrave  (1611)  defines  courage,  *  metall,  spirit,  hart,  stomache.'  —  The 
stomach  was  supposed  to  be  the  seat  of  courage?  — 159.  Providejice. 
Then  Prospero  believes,  like  Roger  Williams,  in  an  overruling  Provi- 
dence?—  Usually  misprinted  with  a  period  after  divine,  following  Ppp^ 

1  Moore  quotes  from  Eichardson,  'The  Nisan  or  drops  of  spring  rain,  which  the^ 
believe  to  produce  pearls,  if  they  fall  into  shells.' 


SCENE  II.3  THE  TEMPEST.  41 

A  noble  Keapolitan,  Gonzalo, 

Out  of  his  charity,  who  being  then  appointed  . 

Master  of  this  design,  did  give  us,  with 

Eich  garments,  linens,  stuffs,  and  necessaries, 

Which  since  have  steaded  much.     So,  of  his  gentleness, 

Knowing  I  lov'd  my  books,  he  furnished  me, 

From  mine  own  library,  with  volumes  that 

X  prize  above  my  dukedom. 

Miranda,  Would  I  might 

But  ever  see  that  man ! 

Prospero.  Now  I  arise.  — 

Sit  still,  and  hear  the  last  of  our  sea-sorrow.  170 

Here  in  this  island  we  arrived ;  and  here 
Have  I,  thy  schoolmaster,  made  thee  more  profit 
Than  other  princess  can,  that  have  more  time 
For  vainer  hours,  and  tutors  not  so  careful. 

Miranda.   Heavens  thank  you  for  't !     And  now,  I  pray 
you,  sir. 
For  still  'tis  beating  in  my  mind,  your  reason 
For  raising  this  sea-storm  ? 

Prospero.  Know  thus  far  forth : 

By  accident  most  strange,  bountiful  Fortune, 

(1723).  — 162.  who  being,  etc.  The  syntax  is  confused;  but  the  best 
critics,  with  few  exceptions,  allow  it  to  stand  unchanged.  Pope,  Hudson, 
Keightley,  and  some  others  omit  who. — 165.  steaded  =  stood  in  good  stead, 
done  much  service,  helped?  —  So  Mer.  of  Ven.,  I,  iii,  6,  etc.  —  As  to  the 
scansion  of  this  line,  and  the  attempts  to  compress  it  or  cut  it  down  to  a 
pentameter,  Furness  well  says,  "  These  devices  .  .  .  recall  the  attempts 
of  the  elder  sister  to  squeeze  her  foot  into  Cinderella's  slipper."  See  on 
lines  83, 103.  — 169.  ever  =  sometime  ?  —  at  any  time  ?  forever  ?  —  Abbott, 
39.  —  arise  =  get  up  (to  give  orders  to  Ariel)  [Heath]  ?  get  up  (a  mere 
casual  remark)  [Capell]  ?  arise  in  my  narration,  my  store  heightens  in  its 
consequence  (as  the  interest  of  a  drama  rises  or  declines)  [Stevens,  War- 
burton]  ?  the  crisis  of  my  fortunes  has  come  (and  I  emerge  from  obscurity) 
[Wright,  Hudson,  Joseph  Crosby]  ?  arise  (to  put  mantle  on  again)  [Dyce, 
Delius,  Collier,  Rolfe,  Br.  Nicholson]  ?  Staunton  thinks  the  words  j^ow  I 
arise  '  are  spoken  to  Ariel,  above.'  Furness  inclines  to  think  them  figura- 
tive. Guess  again !  —  May  there  not  be  an  astrological  allusion  ?  See  lines 
181,  182.  — 172.  schoolmaster.  Shakes,  repeatedly  uses  this  word  to 
denote  a  private  tutor.  Tarn,  of  Shr.,  I,  i,  94,  129,  162;  A7it.  and  Cleop., 
Ill,  xii,  2.  —  profit  =  benefit  (received)  ?  receive  benefit  [Wright,  Hudson, 
Rolfe,  Deighton]  ?—  173.  princess.  "  The  plural  and  possessive  cases  of 
nouns  of  which  the  singular  ends  in  s,  se,  ss,  ce,  and  ge,  are  frequently 
written,  and  still  more  frequentlypronounced,  without  the  additional  syL 
lable."  Abbott,  471.  "  It  is  sufficient  for  a  word  to  terminate  in  the 
sound  of  s  to  be  regarded  by  the  ear  (sic)  as  a  plural."  Furness.  —  Rowe, 
Capell,  Stevens,  Malone,  White,  etc.,  change  the  word  to  'princes.'  — 
176.   beating  =  working  violently   [Wright]?  throbbing   [Deighton]?  — 


42  THE  TEMPEST,  [act  I. 

Now  my  dear  lady,  hatli  mine  enemies 

Brought  to  this  shore ;  and  by  my  prescience  180 

I  find  my  zenith  doth  depend  upon 

A  most  auspicious  star,  whose  influence 

If  now  I  court  not  but  omit,  my  fortunes 

Will  ever  after  droop.     Here  cease  more  questions : 

Thou  art  inclined  to  sleep  \  'tis  a  good  dulness. 

And  give  it  way.  —  I  know  thou  canst  not  choose.  — 

Come  away,  servant,  come  !     I  am  ready  now ; 

Approach,  my  Ariel,  come  ! 

Enter  Ariel. 

Ariel.   All  hail,  great  master !  grave  sir,  hail !     I  come 
To  answer  thy  best  pleasure ;  be  't  to  fly,  190 

To  swim,  to  dive  into  the  fire,  to  ride 
On  the  curPd  clouds,  to  thy  strong  bidding  task 
Ariel  and  all  his  quality. 

Prospero,  Hast  thou,  spirit. 

Performed  to  point  the  tempest  that  I  bade  thee  ? 

181.  zenith.  Span,  zenit,  a  corruption  of  Arab,  samt,  way,  road,  path; 
Arabic  samt-ur-raSy  the  way  overhead.  Figuratively,  highest  success?  — 
As  to  the  influence  of  the  stars,  see  what  Gloster  and  Edmund  say  in  LeaVy 
I,  ii,  94-130.  — 182.  influence.  Astrological?  Lat.  in,  upon;  flu^re,  to 
flow.  Job,  xxxviii,  31.  —  Milton's  L' Allegro,  121, 122.  — 183.  fortunes,  etc. 
See  Jul.  Cses.,  IV,  iii,  216-222.  —185.  inclined.  Effect  of  Prospero's  magic  ? 
Miranda  has  dwelt  alone,  from  her  infancy,  with  her  father  on  a  desert 
island  compassed  by  ocean  and  the  heavens ;  and  thus  she  has  lived,  fear- 
less and  delighted,  in  the  midst  of  mystery  and  beauty.  Quiet  in  the  soul- 
sleep  of  innocence,  trustful  in  her  father's  care  and  power,  she  has  dread 
of  nothing.  The  spirits  of  air  are  her  ministers,  the  brutes  of  earth  are 
meek  to  her,  and  even  Caliban  bends  to  her  service.  But  clouds  gather  in 
the  sky;  winds  rush  upon  the  sea;  with  the  storm  comes  her  prince,  and 
with  the  prince  comes  love.  The  visionary  world  is  broken  into  by  the 
actual ;  realities  intrude  on  fancies ;  and  out  of  dreams  she  merges  into 
passion.  Now  this,  —  a  fable  in  outward  fact,  —  is  a  truth  in  the  inward 
life.  The  actual,  natural,  genuine  maiden  does  dwell  much  alone.  Her 
life  is  an  island  full  of  enchantments,  girded  by  immensity.  Giles's 
Human  Life  in  Shakespeare,  1868. 

190.  answer,  etc.  Neatly  imitated  by  Fletcher  in  The  Faithful  Shep- 
herdess.  Milton  evidently  has  it,  and  lines  252-254,  in  mind  in  Pa?'adise 
Lost,  I,  150-152,  where  Beelzebub  speaks  of  possible  service  to  the  Al- 
mighty, 

*'  whate'er  his  business  be, 

Here  in  the  heart  of  hell  to  work  in  Are 

Or  do  his  errands  in  the  g'looiny  deep." 

— 193.  quality  =  ability,  power  [Rolfe]  ?  professional  skill  [Wright]  ?  fel- 
low-spirits, *  profession  '  [Steevens,  Malone,  Dyce,  Hudson,  Deighton,  Phill- 
potts,  Furness]?  — 194.  to  point  =  to  the  minutest  article  [Steevens, 
Schmidt]?  — to  =  up  to,  in  proportion  to,  according  to  [Abbott,  187]  ?  — 


SCENE  II.]  THE  TEMPEST.  43 

Ariel,   To  every  article. 
I  boarded  the  king's  ship ;  now  on  the  beak, 
Now  in  the  waist,  the  deck,  in  every  cabin, 
I  flam'd  amazement :  sometime  I'd  divide, 
And  burn  in  many  places ;  on  the  topmast. 
The  yards,  and  bowsprit,  would  I  flame  distinctly,  200 

Then  meet  and  join.     Jove's  lightnings,  the  precursors 
0'  the  dreadful  thunder-claps,  more  momentary 
And  sight-outrunning  were  not ;  the  fire  and  cracks 
Of  sulphurous  roaring  the  most  mighty  Neptune 
Seem  to  besiege,  and  make  his  bold  waves  tremble, 
Yea,  his  dread  trident  shake. 

Prospero.  My  brave  spirit ! 

Who  was  so  firm,  so  constant,  that  this  coil 
Would  not  infect  his  reason  ? 

Ariel.  Not  a  soul 

But  felt  a  fever  of  the  mad,  and  play'd 

Some  tricks  of  desperation.     All  but  mariners  210 

Plung'd  in  the  foaming  brine,  and  quit  the  vessel. 
Then  all  afire  with  me :  the  king's  son,  Ferdinand, 
With  hair  up-staring,  —  then  like  reeds,  not  hair,  — 
Was  the  first  man  that  leap'd ;  cried, '  Hell  is  empty. 
And  all  the  devils  are  here.' 


Lat.  adj  to;  punctum,  point;  Fr.  de  tout  point.  —  See  at  a  point  in  our 
Macbeth,  IV,  iii,  135.  — 197.  waist  =  between  the  quarter-deck  and  the 
forecastle  [Johnson]? — 198.  divide,  etc.  "I  do  remember  that  in  the 
great  and  boisterous  storm  ...  in  the  night  there  came  upon  the  top  of 
our  main  yard  and  main  mast  a  certain  little  light,  much  like  unto  the 
light  of  a  little  candle,  which  the  Spaniards  call  the  Cuerpo  santo,  and 
said  it  was  S.  Elmo.  .  .  .  This  light  continued  aboard  our  ship  about  three 
hours,  flying  from  mast  to  mast  and  from  top  to  top,  and  sometime  it 
would  be  in  two  or  three  places  at  once."  HakluyVs  Voyages,  ed.  of  1598, 
de  Robert  Tomson's  voyage  in  1555.  —  See  *  Saint  Elmo's  fire  '  in  the  una- 
bridged Diet.  —  Vergil's  ^neid,  ii,  682-684. — 200.  distinctly  =  separately 
[Staunton]?  —  Lat.  dis,  apart,  stinguerey  to  prick.  —  202.  momentary 
=  lasting  but  a  moment  [Wright,  Schmidt]?  happening  every  moment? 
both  senses?  —  204-206.  Neptune  .  .  .  trident.  See  Class.  Diet. — 
207.  constant  =  composed  ?  Lat.  co?is^a?i5,  steadfast,  steady.  —  See  our 
Mer.  of  Ven.,  Ill,  ii,  242.  —  coil.  Celtic  goill,  a  struggle.  See  our  Hamlet, 
III,  i,  67.  — 209.  of  the  mad  =  such  as  madmen  feel  [Steevens,  Hudson]  ? 
of  delirium  [Rolfe,  Meiklejohn,  Phillpotts]  ?  —  212.  afire.  Abbott,  24.— 
Ferdinand,  etc.  Dramatic  skill  shown  in  separating  him  from  the  rest? 
213.  up-staring.  Lat.  stare,  to  stand;  root  sta-,  to  stand,  be  fixed, 
stiff.  Abbott,  429.  —  See  Jul.  Csds.,  IV,  iii,  278,  where  Brutus  says  to  the 
ghost  of  Caesar, 

"  Art  thou  some  god,  some  angel,  or  some  devil, 
That  mak'st  my  blood  cold  and  my  hair  to  stare  ?  "  — 


44  THE  TEMPEST.  [ACT  I. 

Prospero.  Why,  that's  my  spirit ! 

But  was  not  this  nigh  shore  ? 

Ariel.  Close  by,  my  master. 

Prospero.    But  are  they,  Ariel,  safe  ? 

Ariel.  Not  a  hair  perish'd ; 

On  their  sustaining  garments  not  a  blemish, 
But  fresher  than  before  :  and,  as  thou  bad'st  me, 
In  troops  I  have  dispersed  them  'bout  the  isle  220 

The  king's  son  have  I  landed  by  himself ; 
Whom  I  left  cooling  of  the  air  with  sighs 
In  an  odd  angle  of  the  isle,  and  sitting, 
His  arms  in  this  sad  knot. 

Prospero.  Of  the  king's  ship, 

The  mariners,  say  how  thou  hast  dispos'd. 
And  all  the  rest  o'  the  fleet. 

Ariel.  Safely  in  harbor 

Is  the  king's  ship ;  in  the  deep  nook,  where  once 
Thou  call'dst  me  up  at  midnight  to  fetch  dew 
From  the  still- vex'd  Bermoothes,  there  she's  hid ; 
The  mariners  all  under  hatches  stow'd,  230 

Who,  with  a  charm  join'd  to  their  suffer 'd  labor, 
I  have  left  asleep ;  and  for  the  rest  o'  the  fleet, 
Which  I  dispers'd,  they  all  have  met  again. 
And  are  upon  the  Mediterranean  flote. 
Bound  sadly  home  for  Naples, 
Supposing  that  they  saw  the  king's  ship  wrack'd^ 
And  his  great  person  perish. 


217.  are  they,  Ariel,  safe?  Why  this  question?  Did  he  uot  know? 
—  218.  sustaining  =  bearing  up  or  supporting  the  wearers  [Steevens, 
Wright,  Meiklejohn]  ?  bearing  or  resisting  the  effects  of  water  [Mason, 
Schmidt,  Rolfe]  ?  —  Spedding  and  Hudson  would  read  *  unstaining.'  —  See 
II,  i,  61-()3;  also  Hamlet,  IV,  vii,  174, 175, 180, 181.  — 222.  cooling  of  the 
air  with  sighs.  See  I,  i,  48.  —  After  'cooling,'  the  'of  indicates  that 
'cooling'  is  a  verbal  noun  originally,  as  if  it  were  'a-cooling,'  or  (in  the 
act)  of  cooling.  Abbott,  178.  —  223.  odd  angle  =  singular  nook?  out- 
of-the-way  corner?  —  See  *  odd  '  in  V,  i,  255.-224.  knot  =  folded  form 
[Hudson,  Wright,  Rolfe]?  Hamlet,  I,  v,  174.-224-22(5,  etc.  Three  things 
are  inquired  after.  Note  that  Ariel's  answer  takes  these  up  in  their  order. 
Hence  the  folio  is  right  in  placing  a  comma  after  ship?  —  229.  Ber- 
nioothes.  See  in  the  Introduction,  under  Source  of  the  Plot,  as  to  '  A 
Discovery  of  the  Bermudas,'  etc.  —  stlll-vex'd  BerniooVies  =  the  ever- 
chafed  Bermudas?  "Here,"  says  Hanmer,  "we  have  the  Spanish  pro- 
nunciation." In  Elizabethan  English,  and  for  a  hundred  years  later, 
•still'  often  =  et;er.  See  our  Mer.  of  Veil.,  I,  i,  17;  our  Jul.  Cscb.,  I,  ii, 
238,  etc.  — 231.  who.  See  on  line  80,  IV,  i,  4.-232.  for  the  rest. 
*  For  '  is  still  occasionally  equivalent  to  as  for.    Abbott,  149.  —  234.  lloi^- 


SCENE  II.]  THE  TEMPEST,  45 

Prospero.  Ariel,  tliy  charge 

Exactly  is  perf orm'd ;  but  there's  more  work. 
What  is  the  time  o'  the  day  ? 

Ariel.  Past  the  mid  season. 

Prospero.   At  least  two  glasses :  the  time  'twixt  six  and 
now 
Must  by  us  both  be  spent  most  preciously.  241 

Ariel.    Is  there  more  toil  ?    Since  thou  dost  give  me  pains, 
Let  me  remember  thee  what  thou  hast  promised, 
Which  is  not  yet  performed  me. 

Prospero.  How  now  ?  moody  ? 

What  is  't  thou  canst  demand  ? 

Ariel.  My  liberty, 

Prospero.   Before  the  time  be  out  ?  no  more ! 

Ariel.  I  prithee, 

Remember  I  have  done  thee  worthy  service ; 
Told  thee  no  lies,  made  no  mistakings,  serv'd 
Without  or  grudge  or  grumblings.     Thou  didst  promise 
To  bate  me  a  full  year. 

Prospero.  Dost  thou  forget  260 

From  what  a  torment  I  did  free  thee  ? 

Ariel.  No. 

Prospero.  Thou  dost ;  and  think'st  it  much  to  tread  the  ooze 
Of  the  salt  deep. 

To  run  upon  the  sharp  wind  of  the  north, 
To  do  me  business  in  the  veins  o'  the  earth 
When  it  is  bak'd  with  frost. 


Lat./^^c^W5,•  Lat../?w-gre,  to  flow;  A.  S../?o^;  Fr../?o^,  wave.  —  240.  glasses 
=  hour-glasses  =  hours ?  half-hours?  See  on  V,  i,  223.  —  242.  pains  = 
labor,  care,  trouble?  —  243.  remember.  Lat,  re,  again;  memorariy  to 
make  mindful  of?  make  mention  of?  —  Often  used  transitively  in  Shakes. 
—  Line  403.  —  244.  me.  So  me  in  line  255.  Old  dative  denoting  that  to 
or  for  which  ?  —  Abbott,  220. 

As  a  contrast  to  Caliban,  we  have  Ariel,  but  by  no  means  a  purely  ethe- 
real, expressionless  angel;  rather  a  genuine  spirit  of  air  and  of  pleasure, 
graceful  and  free-thoughted,  but  light  withal,  mischievous,  and  at  times  a 
wee  bit  naughty.  .  .  .  Accordingly,  almost  like  a  human  being,  he  has 
not  infrequently  to  be  reminded  of  it  and  kept  in  check.  Franz  Horn's 
Schauspiele  Erlautert,  1832. 

249.  grudge  =  complaint,  murmur  [Wright,  Rolfe,  Meiklejohn]  ?  repin- 
ing [Deighton]  ?  grudging  [Schmidt]  ?  —  Gr.  ypO,  gru,  grunt  of  a  pig.  Imi- 
tative. Icel.  krutr,  a  murmur;  Swed.  kruttla,  Mid.  Eng.  grucchen,  to 
murmur.  —  250.  bate  =  remit,  deduct  [Schmidt]  ?  See  II,  i,  97,  and  our 
Mer.  of  Ven.,  I,  iii,  114.  —  252.  ooze.  See  III,  iii,  100.  —  253.  run.  Isaiah, 
xl,  31.  —254.  business.    See  on  190. 


46  THE  TEMPEST.  [act  L 

Ariet  I  do  not,  sir. 

Prospero.    Thou    liest,    malignant    thing!      Hast    thou 
forgot 
The  foul  witch  Sycorax,  who  with  age  and  envy 
Was  grown  into  a  hoop  ?  hast  thou  forgot  her  ? 

A7^eL   No,  sir. 

Prospero.   Thou  hast.      Where  was   she  born?    speak; 
tell  me. 

Ariel.   Sir,  in  Argier. 

Prospero.  0,  was  she  so  ?     I  must  261 

Once  in  a  month  recount  what  thou  hast  been, 
Which  thou  forget' st.     This  damn'd  witch  Sycorax, 
For  mischiefs  manifold  and  sorceries  terrible 
To  enter  human  hearing,  from  Argier, 
Thou  know'st,  was  banish'd ;  for  one  thing  she  did 
They  would  not  take  her  life.     Is  not  this  true  ? 

Ariel.   Ay,  sir. 


257.  liest.  Needlessly  harsh?  —  malignant.  Any  relevancy  in  John- 
son's remark  that  the  fallen  spirits,  over  whom  magicians  had  power, 
were  ill  disposed  ? 

With  all  our  admiration  and  sympathy  with  the  illustrious  magi- 
cian, we  perforce  must  acknowledge  Prospero  to  be  of  a  revengeful 
nature.  He  has  not  the  true  social  wisdom ;  and  he  only  learns  Christian 
wisdom  from  his  servant  Ariel.  By  nature  he  is  a  selfish  aristocrat. 
When  he  was  Duke  of  Milan  he  gave  himself  up  to  his  favorite  indul- 
gence of  study  and  retired  leisure,  yet  expected  to  preserve  his  state  and 
authority.  When  master  of  the  Magic  Island,  he  is  stern  and  domineer- 
ing, lording  it  over  his  sprite  subjects  and  ruling  them  with  a  wand  of 
rigor.  He  comes  there  and  takes  possession  of  the  territory  with  all  the 
coolness  of  a  usurper ;  he  assumes  despotic  sway,  and  stops  only  short  of 
absolute  unmitigated  tyranny.  Charles  Cowden  Clarke's  Shakespeare 
Characters,  1863. 

258.  Sycorax.  Stephen  Batman  (1537-1587)  is  quoted  by  Douce  thus  : 
**  The  raven  is  called  corvus  of  Corax.  ...  It  is  sayd  that  ravens  birdes 
be  fed  with  the  deaw  of  heaven  all  the  time  that  they  have  no  blacks 
feathers  by  benefite  of  age."  See  lines  320,  321.  —  Among  possible  deriva- 
tions of  the  word  Sycorax  are  the  following :  xi/vxopp-n^,  Psychorrex  (from 
<//ux^,  psyche,  soul,  and  p^y^u/iat,  regnumai,  to  break) ;  avKov,  sukon,  fig, 
and  pd^,  rax,  a  poisonous  spider,  meaning  Queen  Elizabeth!  Gr.  o-G?,  sus, 
y?,  hus,  a  swine;  Kopa^,  corax,  a  raven;  hog-raven,  being  a  foul  witch! 
[Gr.  vatva,  huaina,  hyaena,  is  properly  a  sow;  then  a  Libyan  wild  beast. 
See  on  line  209.]  —  Arabic  Shokoreth,  deceiver.  Seiaxghirir,  a  town  on  the 
island  of  Pantalaria,  which,  Elze  thinks,  is  the  possible  '  original  of  Pros- 
pero's  isle!' — See  Furness.  —  envy.  Lat.  in,  against;  videre,  to  look; 
mvidia,  envy  ;  hatred.  —  Often  in  Shakes,  it  denotes  malice.  —  2G1.  Ar- 
gier. Spanish  and  Port.  Argel.  The  modern  name,  Algiers,  dates  from 
the  'Restoration'?  The  city  has  about  70,000  inhabitants.  — 2(k).  one 
thing  she  did,  etc.  But  what  it  was,  no  persoii  can  tell.  Perhaps 
Shakes,  himself  did  not  know  |    See  Furness, 


SCENE  II.]  THE  TEMPEST.  47 

Prospero.   This  blue-eyed  hag  was  hither  brought  with 
child, 
And  here  was  left  by  the  sailors.     Thou,  my  slave,  270 

As  thou  report' st  thyself,  wast  then  her  servant; 
And,  for  thou  wast  a  spirit  too  delicate 
To  act  her  earthy  and  abhorr'd  commands, 
Kefusing  her  grand  hests,  she  did  confine  thee, 
By  help  of  her  more  potent  ministers, 
And  in  her  most  unmitigable  rage. 
Into  a  cloven  pine ;  within  which  rift 
Imprisoned  thou  didst  painfully  remain 
A  dozen  years ;  within  which  space  she  died, 
And  left  thee  there,  where  thou  didst  vent  thy  groans      280 
As  fast  as  mill-wheels  strike.     Then  was  this  island  — 
Save  for  the  son  that  she  did  litter  here, 
A  freckled  whelp,  hag-born  —  not  honor'd  with 
A  human  shape. 

Ariel.  Yes,  Caliban  her  son. 

Prospero.   Dull  thing,  I  say  so ;  he,  that  Caliban, 
Whom  now  I  keep  in  service.     Thou  best  know'st 
What  torment  I  did  find  thee  in ;  thy  groans 
Did  make  wolves  howl,  and  penetrate  the  breasts 
Of  ever-angry  bears.     It  was  a  torment 

.To  lay  upon  the  damn'd,  which  Sycorax  290 

Could  not  again  undo ;  it  was  mine  art. 
When  I  arriv'd  and  heard  thee,  that  made  gape 
The  pine,  and  let  thee  out. 

269.  blue-eyed  =  having  a  blueness,  a  black  circle  about  the  eyes 
[Schmidt]  ?  the  eyelids  having  a  livid  color  [Wright]  ?  Hyenas  have  blue 
eyes!     (See  on  258.) 

"  Woe  to  the  half  dead  wretch  that  meets 
The  glaring  of  those  large  blue  eyes 
Amid  the  darkness  of  the  streets  !  " 

—  Moore's  Paradise  and  the  Peri. 
So  have  some  angelic  women ! 

**  Feeling  or  thought  that  was  not  true 
Ne'er  made  less  beautiful  the  blue 
Unclouded  heaven  of  her  eyes  !  "  —  Lowell. 

272.  And  for  thou  ^wast.  Abbott,  151,  remarks,  '*  *  For,'  in  the  sense 
of  *  because  of,'  is  found  not  only  governing  a  noun,  but  also  governing  a 
clause." — 274.  hests.  See  III,  i,  37;  IV,  i,  65.  A.  S.  haes,  a  command. 
277.  into.  Motion  implied?  Abbott,  159. —  See  line  359.-284.  Cali- 
ban. Coined  by  metathesis  from  canibal  (cannibal)  ?  Arabic  kalebon,  a 
dog?  —  Furness  thinks  Elze's  suggestion  more  plausible,  that  the  name  is 
derived  *  from  the  region  called  Calibia  on  the  Moorish  coast.'  —  286.  Dull* 


48  THE   TEMPEST.  [act  a. 

Ariel,  I  thank  thee,  master. 

Prospero.    If  thou  more  murmur'st,  I  will  rend  an  oak. 
And  peg  thee  in  his  knotty  entrails  till 
Thou  hast  howPd  away  twelve  winters. 

Ariel.  Pardon,  master; 

I  will  be  correspondent  to  command. 
And  do  my  spriting  gently. 

Prospero.  Do  so,  and  after  two  days 

I  will  discharge  thee. 

Ariel.  That's  my  noble  master  ! 

What  shall  I  do  ?  say  what ;  what  shall  I  do  ?  300 

Prospero.    Go  make  thyself  like  a  nymph  o'  the  sea;  be 
subject 
To  no  sight  but  thine  and  mine,  invisible 
To  every  eyeball  else.     Go,  take  this  shape. 
And  hither  come  in  ^t ;  go,  hence  with  diligence !  — 

[^Exit  Ariel 
Awake,  dear  heart,  awake  !  thou  hast  slept  well ; 
Awake ! 

Miranda.   The  strangeness  of  your  story  put 
Heaviness  in  me. 

Prospero.  Shake  it  off.     Come  on; 

We'll  visit  Caliban  my  slave,  who  never 
^fields  us  kind  answer. 

Miranda.  ^Tis  a  villain,  sir, 

I  do  not  love  to  look  on. 

Prospero.  But,  as  'tis,  310 

We  cannot  miss  him ;  he  does  make  our  fire, 

Why  called  dull?  —  297.  correspondent.  "Used  to  this  day  in  a  re- 
ligious sense  by  Catholic  writers  in  reference  to  grace."  Phila.  Shaken. 
Soc.  —  298.  spriting  =  work  as  a  spirit?  —  gently  =  meekly?  nobly? 
willingly,  without  reluctance  [Schmidt]  ?  — after  two  days.  Why 
two  days?  See  the  last  five  lines  of  the  play;  also  line  420.  —  301. 
like  a  nymph,  etc.  Why  '  like  a  nymph  of  the  sea,'  if  he  was  to  be 
invisible?  That  the  English  audience,  which  Prospero  was  not  thinking 
of,  might  see  him?  — 302.  Steevens,  Dyce,  Hudson,  and  Deighton  strike 
out  thine  and.  Wisely?  —  **  Ariel  is  swayed  more  by  fear  than  gratitude, 
a  fact  which  excites  Prospero's  anger.  .  .  .  Prospero  is  chafed  with  cer- 
tain obstacles  in  the  magic  sphere  of  his  working,  and  occasionally  wroth 
with  Ariel  and  Caliban  for  resistance  expressed  or  implied.  He  is  also 
liable  to  perturbation  of  mind  from  forgetfulness,  as  in  the  Fourth  Act, 
when  he  suddenly  remembers  the  conspiracy  of  Caliban.  And  thus,  with 
all  his  moral  excellence,  Prospero  is  made  to  awaken  our  sympathy  for  a 
natural  imperfection."     Heraud's  S/iakrspearr  —  His  Inner  Life,  IHfJT). 

307.  strangeness,  etc.    Was  that  the  real  cause  of  her  sleeping?  — 
311.  miss  =  to  be  without  [Schmidt]  ?  do  without  [Wright,  Hudson,  Rolf©, 


SCENE  II.]  THE   TEMPEST.  49 

Fetch  in  our  wood,  and  serves  in  offices 
That  profit  us.  —  What,  ho !  slave !  Caliban ! 
Thou  earth,  thou !  speak. 

Caliban.    [  Witlmil  There's  wood  enough  within. 

Prospero.   Come  forth,  I  say !  there's  other  business  for 
thee; 
Come,  thou  tortoise !  when  ?  — 

Enter  Ariel,  like  a  water-nymph. 

Fine  apparition  !     My  quaint  Ariel, 
Hark  in  thine  ear. 

Ariel.  My  lord,  it  shall  be  done.  [^Exit. 

Prospero,   Thou  poisonous  slave,  come  forth ! 

Enter  Calibax. 

Caliban.   As  wicked  dew  as  e'er  my  mother  brushed       320 
With  raven's  feather  from  unwholesome  fen 
Drop  on  you  both !  a  south-west  blow  on  ye. 
And  blister  you  all  o'er  ? 

Prospero.   For  this,   be   sure,  to-night  thou   shalt  have 
cramps, 


Phillpotts,  etc.]  ? — 316.  tortoise.    Hunter  says  **  there  is  a  good  deal  that 
is  Hebraistic  in  this  play,"  and  that  Caliban  **  is,  as  to  form,  no  other  than 
the  fish.idol  of  Ashdod,  the  Dagon  of  the  Philistines!  "     Test  this,  1  Sam,/ 
v,4, 

"Dagon  his  name,  sea-monster,  upward  man 
And  downward  fish."  — Par.  Lost,  I,  462,  463. 

Is  the  treatment  of  Caliban  by  Prospero  creditable?  —  when?  — 
tience?  See  in  Jul.  Cses.,  H,  i,  5,  "When,  Lucius,  when?" —  ^ 
quaint.  '  Lat.  cognitus,  known,  famous,  and  comptus,  neat,  adorned; 
Old  Fr.  coint,  defined  by  Cotgrave,  *  quaint,  compt,  neat,  fine,  spruce, 
brisk,  smirk,  smug,  dainty,  trim,  tricked  up.'  —  See  our  ed.  of  Mer.  of 
Ven.,  n,  iv,  6.  —  **  Caliban  is  malicious,  cowardly,  false,  and  base  in  his 
inclinations;  and  yet  he  is  essentially  different  from  the  vulgar  knaves 
of  a  civilized  world,  as  they  are  occasionally  portrayed  by  Shakespeare. 
He  is  rude,  but  not  vulgar ;  he  never  falls  into  the  prosaic  and  low  famil- 
iarity of  his  drunken  associates,  for  he  is  a  poetical  being  in  his  way ;  he 
always  speaks  in  verse."  Schlegel's  Lectures  on  Dram.  Literature^  1815. 
320.  wicked  =  baneful ?  mischievous?  sinful?  —  In  Shakes,  mental 
and  moral  qualities  are  continually  imputed  to  inanimate  objects.  Is  it  so 
here?  —  322.  southw^est.  ,"  A  noxious  character  is  attributed  in  Shakes. 
to  southerly  winds."  See  CorioL,  I,  iv,  30 ;  II,  iii,  2G-30.  But  why  blister  f 
Do  the  commentators  seem  to  forget  that  this  island  may  have  been  near 
the  African  coast,  where  the  hot  winds  from  the  desert  sometimes  shrivel 


50  THE   TEMPEST,  [acT  L 

Side-stitches  that  shall  pen  thy  breath  up ;  urchins 
Shall,  for  that  vast  of  night  that  they  may  work, 
All  exercise  on  thee ;  thou  shalt  be  pinch'd 
As  thick  as  honeycomb,  each  pinch  more  stinging 
Than  bees  that  made  'em. 

Caliban.  I  must  eat  my  dinner. 

This  island's  mine,  by  Sycorax  my  mother,  330 

Which  thou  tak'st  from  me.     When  thou  camest  first. 
Thou  strok'dst  me  and  made  much  of  me,  wouldst  give  me 
Water  with  berries  in  't,  and  teach  me  how 
To  name  the  bigger  light,  and  how  the  less. 
That  burn  by  day  and  night ;  and  then  I  lov'd  thee, 
And  show'd  thee  all  the  qualities  o'  the  isle. 
The  fresh  springs,  brine-pits,  barren  place  and  fertile. 
Cursed  be  I  that  did  so !     All  the  charms 
Of  Sycorax,  toads,  beetles,  bats,  light  on  you  ! 
For  I  am  all  the  subjects  that  you  have,  340 

Which  first  was  mine  own  king ;  and  here  you  sty  me 
In  this  hard  rock,  whiles  you  do  keep  from  me 
The  rest  o'  the  island. 

Prospero.  Thou  most  lying  slave. 

Whom  stripes  may  move,  not  kindness  !     I  have  us'd  thee, 
Filth  as  thou  art,  with  human  care,  and  lodg'd  thee 
In  mine  own  cell,  till  thou  didst  seek  to  violate 
The  honor  of  my  child. 


and  blister?  —  325.  urchins  =  fairies  [Douce,  White]?  hedgehogs.  [Steev- 
ens,  Jephson]?  evil  spirits  in  the  form  of  hedgehogs,  mischievous  elves 
[Meiklejohn]  ?  hobgoblins  [Wright]  ?  —  hsit.  ericius  ;  Old  Fr.  ericon;  Fr. 
herisson;  Early  Eng.  irchon ;  Mid.  Eng.  urchon,  a  hedgehog.  See  3/(/(- 
hethy  IV,  i,  2.  —  326.  that  vast  of  night  tliat  tliey  may  work  =^ 
that  empty  stretch  of  night  wherein  they  may  work  [Wright]  ?  —  See 
F^'^ness  for  a  discussion  of  this  passage.  —  vast  =  wsiste.  —  Hamlet  (see 
our  ed.,  I,  ii,  198)  has 

'  In  the  dead  vast  and  middle  of  the  night.' 

Hudson  explains  this  line  in  Hamlet  as  meaning  *in  the  silent  void  or 
vacancy  of  the  night,  when  spirits  were  anciently  supposed  to  walk  abroad.' 
—  328.  thick,  numerous?  full  of  (pinches)  [Deightonl  ?  — honeycomb 
=  cells  of  the  honeycomb  [Wright]  ?  —  3.S2.  made  much.  So  the  folio. — 
333.  water  with  berries  in  it  =  coffee  ?  —  334.  bigger  light,  etc.  — 
Genesis,  i,  16.  —  **  A  special  literary  panegyric  of  the  blessings  of  an  unciv- 
ilized state  of  society  was  in  existence  in  one  of  the  Essays  of  Montaigne, 
translated  by  Florio  in  1()03.  ...  It  seems  difficult  to  escape  from  the  con- 
clusion, that  SliJikespeare  intended  his  monst'er  as  a  satire  incarnate  on 
Montaigne's  '  noble  savage.'  "  Ward's  Hist,  of  Eng.  Dramatic  Literature^ 
1875. 


SCENE  II.]  THE   TEMPEST.  51 

Caliban.         0  ho,  0  ho  !  would  't  had  been  done  I 
Thou  didst  prevent  me  ;  I  had  peopled  else 
This  isle  with  Calibans. 

Miranda.  Abhorred  slave, 

Which  any  print  of  goodness  wilt  not  take,  360 

Being  capable  of  all  ill !     I  pitied  thee, 
Took  pains  to  make  thee  speak,  taught  thee  each  hour 
One  thing  or  other ;  when  thou  didst  not,  savage. 
Know  thine  own  meaning,  but  wouldst  gabble  like 
A  thing  most  brutish,  I  endow'd  thy  purposes 
With  words  that  made  them  known.     But  thy  vile  race. 
Though  thou  didst  learn,  had  that  in  't  which  good  natures 
Could  not  abide  to  be  with ;  therefore  wast  thou 
Deservedly  confin'd  into  this  rock. 
Who  hadst  deserv'd  more  than  a  prison.  360 

Caliban.    You  taught  me  language ;  and  my  profit  on  't 
Is,  I  know  how  to  curse.     The  red  plague  rid  you 
For  learning  me  your  language ! 

Prospero.  Hag-seed,  hence  I 

Fetch  us  in  fuel ;  and  be  quick,  thou'rt  best. 
To  answer  other  business.     Shrug^st  thou,  malice  ? 
If  thou  neglect'st,  or  dost  unwillingly 
What  I  command,  I'll  rack  thee  with  old  cramps, 


349.  Abhorred  slave,  etc.  This  speech  the  folio  gives  to  Miranda. 
But  most  of  the  editors  —  Theobald,  Wright,  Hudson,  Rolfe,  White,  Deigh- 
ton,  Phillpotts,  etc.  —  have  substituted  Prospero  as  the  speaker.  With 
Staunton,  Krauth,  and  Furness,  we  prefer  to  follow  the  folio.  Notwith- 
standing its  severity,  there  is  in  the  speech  a  feminine  delicacy,  which 
strongly  contrasts  with  the  masculine  coarseness  of  Prospero.  Besides,  it 
is  pleasant  to  think  of  the  little  girl  as  trying,  to  teach  the  poor  brute ; 
while  her  father  teaches  her  !  See  also  II,  ii,  128;  III,  ii,  58.-359.  into. 
See  on  277.  —361.  on  't.  See  on  87.  Abbott,  182.  — profit  ...  to  curse. 
Too  much  of  our  so-called  education  finds  such  issue  !  —  362.  red  plague 
=  erysipelas  [Steevens]  ?  leprosy  (Leviticus,  xiii,  42,  43)  [Rolfe,  Krauth]  ? 
one  of  three  different  kinds  of  plague  sores,  red,  yellow,  and  black  [Halli- 
well,  Hudson,  Schmidt]?  Might  refer  to  the  red  crosses  on  the  doors  of 
infected  houses  in  Shakespeare's  time  [Grey]  ?  — 3(53.  learning.  Used 
transitively?  So  in  Cymbeline,  I,  v,  12,  and  in  Spense?-  and  the  Bible. — 
.'364.  best  =  *  best  off'  (spoken  colloquially),  in  best  condition?  —  'You 
were  best '  (=  it  were  best  for  you)  was  the  original,  and  *  you '  was  prop- 
erly the  dative?  Blunderingly  the  '  you '  came  to  be  treated  as  a  nomina- 
tive in  such  phrases,  and  then  /and  thoit  were  also  used.  —  Abbott,  230. — 
367.  old  =  abundant  [Rolfe,  Deighton]  ?  huge  (intensive)  [Hudson]  ?  what 
one  has  known  of  old,  and  therefore  remarkable  or  extreme  [Meiklejohnl  ? 
had  of  old  or  aforetime  [Furness]  ?  such  as  the  old  are  subject  to  [Schmidt]  ? 
—  See  *  aged  cramps,'  IV,  i,  256 ;  also  Macbeth^  II,  iii,  2;  Mer.  of  Ven.,  IV, 
ii,  15. 


52  THE  TEMPEST.  [act  1. 

!Fill  all  thy  bones  with  aches,  make  thee  roar, 
That  beasts  shall  tremble  at  thy  din. 

Caliban.  No,  pray  thee. 

[_  Aside]  I  must  obey ;  his  art  is  of  such  power,  370 

It  would  control  my  dam's  god,  Setebos, 
And  make  a  vassal  of  him. 

Prospero,  So,  slave ;  hence !  [^Exit  Caliban, 

Enter  Ferdinand,  and  Ariel  (invisible)  playing  and  singing. 
Ariel's  Song. 

Come  unto  these  yellow  sands, 

And  then  take  hands : 
Curtsied  when  you  have,  and  kissed 

The  wild  waves  whist, 
Foot  it  featly  here  and  there  ; 
And,  sweet  sprites,  the  burthen  bear. 

Hark,  Hark! 


368.  aches.  John  Kemble,  the  actor,  made  it  a  dissyllable,  and  when 
he  personated  Prospero,  he  pronounced  it  aitches.  One  night,  Kemble 
being  ill,  Mr.  Cook  took  his  place,  and  the  London  critics,  who  were 
strenuously  disputing  as  to  the  proper  pronunciation,  listened  eagerly  for 
his  utterance.  He  left  the  whole  line  out  !  The  newspapers  made  him 
soliloquize  as  follows :  — 

*^  Aitches  or  akes,  shall  I  speak  both  or  either  ? 
Ifakes,  I  violate  my  Shakespeare's  measure  — 
If  aiiGhes,  I  shall  give  King  Johnny  pleasure  ; 
I've  hit  upon't  —  by  Jove  !  I'll  utter  neither  I " 

See,  post,  III,  iii,  2 ;  also  Much  Ado,  III,  iv,  47-50.  —  369.  that.  Line  85. 
^66o^^  283. —pray  thee.*  Very  common  ellipsis?  Abbott,  401.  Short- 
ened to  prithee. — 371.  **  They  [the  Patagonians]  roared  like  bulls,  and 
cried  upon  their  great  devil,  Setebos,  to  help  them."  Story  of  Magellan's 
voyage  (in  1519)  in  Eden's  History  of  Travaile,  published  (1577)  when 
Shakespeare  was  13.  — Setebos  is  said  by  Malone,  copying  Capell,  to  be 
mentioned  in  Hakluyt's   Voyages  (1598).  —  375.  cxivt^ieAyOvcourtesied? 

—  kiss'd  .  .  .  whist  =  kissed  .  .  .  into  silence?  —  A  great  deal  of  inge- 
nuity has  been  expended  on  this  passage.  Perhaps  the  best  interpretation 
is  that  of  Allen  approved  by  Furness,  as  follows :  **  The  nymphs  are  formed 
on  the  sands  for  a  dance;  the  waves  .  .  .  are  spectators,  restless  and 
noisy  until  the  spectacle  shall  begin  .  .  .  When  the  nymphs  indicate,  by 
taking  hands,  coiirtesying  to  and  kissing  partners,  that  they  are  begin- 
ning, the  waves  are  hushed  into  silent  attention ;  and  thus  the  nymphs  do 
in  effect  '  kiss  the  wild  waves  whist.'  "  In  Milton's  Hymn  on  the  Nativity , 
V,  4,  loAis^  =  silenced.  —  377.  featly  =  skilfully?  neatly?  —  l^^t.  factum, 
Fr.  fait,  a  deed,  iv.fact;re,  to  do;  FAig.feat,  a  deed  well  done,  an  exploit. 

—  378.  burthen  (Fr.  bourdon,  drone  or  bass  ;  a  humble-bee ;  akin  to  owrr, 
to  buzz,  an  imitative  word),  a  verse  repeated  in  song,  a  refrain. 


SCENE  II.  J  THE  TEMPEST,  63 

[Burthen,  dispersedly,  within.     Bow-wowJl  380 

The  watch-dogs  hark. 
[Burthen,  within.     Bow-iuow,'] 

Hark,  Hark  !   I  hear 

The  strain  of  strutting  chanticleer 

Cry,  Cock  a-didle-dow. 

Ferdinand.  Where  should  this   music  be  ?  i'  the  air  or 
the  earth  ?  — 
It  sounds  no  more ;  —  and,  sure,  it  waits  upon 
Some  god  o'  the  island.     Sitting  on  a  bank, 
Weeping  again  the  king  my  father's  wrack, 
This  music  crept  by  me  upon  the  waters,  390 

Allaying  both  their  fury  and  my  passion 
With  it's  sweet  air ;  thence  I  have  followed  it, 
Or  it  hath  drawn  me  rather.     But  ^tis  gone.  — 
No,  it  begins  again. 

Ariel's  Song. 

Full  fathom  Jive  thy  father  lies; 

Of  his  hones  are  coral  made; 
Those  are  pearls  that  were  his  eyes  : 

Nothing  of  him  that  doth  fade. 
But  doth  suffer  a  sea-change 

Into  something  rich  and  strange.  400 

Sea-nymphs  hourly  ring  his  knell: 

[Burthen  within.    Ding-dong. '^ 
Hark  !  now  I  hear  them  —  Ding-dong,  hell. 

Ferdiyiand.    The  ditty  does  remember  my  drown'd  father. 

386.  should.  Used,  says  Abbott  (325),  in  direct  questions  about  the 
past  where  'shaU'  was  used  about  the  future.  —  Ferdinand  here  falls  into 
a  reverie  [Straehey]  ?  —  389.  again  =  again  and  again  [Abbott,  27  ;  Rolfe]  ? 
—  391.  passion.  Lat.  passio,  suffering;  fr.  irdBeiv,  pathein,  Lat.  pa^z,  to 
suffer.  —  392.  it's.  So  the  folio.  See  on  95.-395.  fathom.  A.  S./«c?m, 
embrace  ;  hence  the  length  of  the  arms  extended  to  embrace  all ;  six  feet. 
For  the  'singular,'  see  on  line  53.  Note  the  alliteration.  —  396.  are.  Is 
*  coral '  virtually  plural,  a  sort  of  '  collective  noun  '  ?  Or  does  the  proxim- 
ity of  the  plural '  bones  '  control  the  '  number '  of  the  verb  ?  Or  did  Shakes, 
wish  to  avoid  the  sound  of  hones  is?  Abbott,  412.  —  In  Macbeth,  V,  viii, 
56,  'pearl'  means  a  circle  or  group  of  noblemen.  —  397.  pearls.  See  on 
deck'd,  line  155.  — 403.  ding-dong.  See  Mer.  of  Yen.,  Ill,  ii,  71,  72.  Our 
language  is  rich  in  onomatopoeia,  in  which  Professor  Whitney  thinks  he 
finds  the  main  originating  principle  of  language.  —  404.  remember.  Com- 
memorate ?  call  to  (my)  mind  ?  recollect  ?  remind  of  ?    Note  on  line  243.  — 


54  THE  TEMPEST.  [acT  L 

This  is  no  mortal  business,  nor  no  sound 

That  the  earth  owes.  —  I  hear  it  now  above  me. 

Prospero.   The  fringed  curtains  of  thine  eye  advance, 
And  say  what  thou  seest  yond. 

Miranda.  What  is't  ?  a  spirit  ? 

Lord,  how  it  looks  about !     Believe  me,  sir, 
It  carries  a  brave  form.     But  'tis  a  spirit.  410 

Prospero.   No,  wench ;  it  eats  and  sleeps  and  hath  such 
senses 
As  we  have  —  such.     This  gallant  which  thou  seest 
Was  in  the  wrack ;  and,  but  he's  something  stain'd 
With  grief  that's  beauty's  canker,  thou  mightst  call  him 
A  goodly  person.     He  hath  lost  his  fellows. 
And  strays  about  to  find  'em. 

Miranda.  I  might  call  him 

A  thing  divine,  for  nothing  natural 
I  ever  saw  so  noble. 

Prospero.   [^Aside']     It  goes  on,  I  see, 
As  my  soul  prompts  it.  —  Spirit,  fine  spirit !  I'll  free  thee 
Within  two  days  for  this. 

405.  —  nor  no  =  nor  any  ?  Force  of  double  negative  ?  Abbott,  406.  In 
Early  E.  the  desire  of  emphasis  doubtless  gave  rise  to  many  such.  Thus: 
"No  son,  were  he  never  so  old  of  years,  might  not  marry."  Ascham's 
Scholemaster. — 406.  owes  =  possesses?  Often  so  in  Shakes.  Line  453; 
III,  i,  45.  See  our  Macbeth,  I,  iii,  7i].  — Abbott,  290.— 407.  fringed  cur- 
tains of  thine  eye  advance  =  look?  open  your  eyes?  Does  this  sound 
like  Shakespeare  dicticm ?  —  "The  solemnity  of  the  phraseology  assigned 
to  Prospero  is  completely  in  character,  recollecting  his  preternatural  ca- 
pacity." Coleridge's  Seven  Lectures.  In  Pericles,  Thaisa's  eyelashes  are 
called  'fringes  of  bright  gold.'  In  IV,  i,  177,  we  read  'advauc'd  their 
eyelids.'  —  Advance  in  Shakes,  often  means  lift  np.  Lat.  ab,  from;  ante, 
before;  Fr.  avancer,  to  go  before.  —  408.  yond.  See  on  II,  ii,  20.  —  A.  S. 
geon,  geond,  there,  at  a  distance;  Ger.  jener. — 412.  gallant.  Late  Lat. 
galare,  to  regale;  O.  Fr.  galer,  fr.  Goth,  gailjan,  to  rejoice;  Fr.  and  Ital. 
gala,  finery,  festivity.  Brachet,  Wore.  —  413.  but  =  were  it  not  that; 
but  that;  except?  —  Abbott^  120. — something  =  a  thing ?  somewhat?  in 
some  degree?  Ill,  i,  58;  Mer.  of  Yen.,  I,  ii,  124;  Hamlet,  III,  i,  173;  Abbott, 
68.  —  414.  canker  =  rust  or  tarnish  [Hudson,  who  quotes  James,  v,  3]? 
canker-worm  [Rolfe,  Deighton,  Schmidt;  and  Wright,  who  quotes,  "But 
now  will  canker  sorrow  eat  my  bud,"  King  John,  III,  iv,  82]  ?  —  "  Shakes, 
uses  'canker'  in  four  senses;  the  canker-worm,  dog-rose,  cancer,  and 
rust."  Hudson.  —  415.  Note  the  antithesis  between  'goodly  person  '  and 
'  thing  divine.'  —  420.  two  days.  I,  ii,  298.  —  "  Fouque  woiild  have  made 
Ariel  a  female  spirit  becoming  Miranda  by  the  power  of  love,  and  mar- 
riage to  Ferdinand ;  but  how  much  finer,  because  truer,  is  Shakespeare's 
Miranda,  a  real  and  complete  woman  from  lirst  to  last!  Fouque's  con- 
ception is  indeed  very  cliarming,  but  wants  tlie  reality  of  Shakesp<'are'8, 
without  surpassing  it  in  poetic  ideality."  Sir  Edward  Strachey  iu  Quar- 
terly Review^  July,  1890. 


SCENE  II.]  THE  TEMPEST.  55 

Ferdinand.   Most  sure,  the  goddess  42( 

On  whom  these  airs  attend !  —  Vouchsafe  my  prayer 
May  know  if  you  remain  upon  this  island ; 
And  that  you  will  some  good  instruction  give 
How  I  may  bear  me  here :  my  prime  request, 
Which  I  do  last  pronounce,  is,  0  you  wonder ! 
If  you  be  maid  or  no  ? 

Miranda,  No  wonder,  sir, 

But  certainly  a  maid. 

Ferdinand.  My  language  !  heavens !  — 

I  am  the  best  of  them  that  speak  this  speech. 
Were  I  but  where  'tis  spoken. 

Prospero.  How !  the  best  ? 

What  wert  thou,  if  the  King  of  Naples  heard  thee  ?  430 

Ferdinand.   A  single  thing,  as  I  am  now,  that  wonders 
To  hear  thee  speak  of  Naples.     He  does  hear  me, 
And  that  he  does  I  weep ;  myself  am  Naples, 
Who  with  mine  eyes,  never  since  at  ebb,  beheld 
The  king  m.j  father  wracked. 

Miranda.  Alack,  for  mercy ! 

Ferdinand.  Yes,  faith,  and  all  his  lords;   the  Duke  of 
Milan 
And  his  brave  son  being  twain. 

Prospero.   ^Aside']  The  Duke  of  Milan 

And  his  more  braver  daughter  could  control  thee. 


420.  sure,  the  goddess.  Vergil's  0,  dea,  certe  !  O,  a  goddess,  surely! 
j^neid,  i,  328;  Comus,  267.  — 421.  vouchsafe.  See  our  Jul.  Cass.,  II,  i, 
313. —The  omission  of  'that,'  which,  however,  is  immediately  inserted, 
shows  how  plastic  the  language  was  in  Shakespeare's  time.  Abbott,  285. 
—  426.  maid  =  unmarried  ?  Lines  446-448. — The  1st  folio  has  *Mayd.' 
The  4th  folio  has  'made,*  which  all  the  editors  down  to  Singer,  1826, 
adopted,  playing  on  the  word!  ''Since  then,  every  editor,  without  ex- 
ception, I  believe,  has  followed  the  first  folio."  Furness.  —  '^Sl.  single  = 
feeble  ?  unmarried  ?  —  "  Ferdinand  plays  upon  the  word.  He  believes  that 
himself  and  the  King  of  Naples  are  one  and  the  same  person ;  he  therefore 
uses  this  epithet  with  a  reference  to  its  further  sense  of  solitary ^  and  so 
feeble  and  helpless.''  Wright.  See  our  Macbeth,  I,  iii,  140;  vi,  16.  White 
quotes  as  analogous  the  phrase  'one-horse  town.'  —  433.  I  am  Naples.  ^ 
Shakes,  often  gives  the  king  the  name  of  his  realm.  "  L'etat;  c'est  moi,'' 
I  am  the  state,  said  the  French  monarch.  See  our  Hamlet,  I,  i,  61. — 
437.  brave  son.  Scrutinize  the  dramatis  personse.  Might  Adrian  be  he  ? 
Fleay  suggests  that  "perhaps  Francisco  is  what  is  left  of  him"!  Was 
Shakespeare  forgetful  ?  —  438.  more  braver.  Line  19.  —  control  =  con- 
fute [Johnson,  Schmidt,  etc.]?  contradict  [Wright]?  rule?  Fuller  has, 
"  This  report  was  controlled  to  be  false." — O.  Fr.  contre-role,  a  duplicate 
register,  used  to  verify  the  first  or  official  roll.    Bracket.    O.  Fr.  contre^ 


66  THE   TEMPEST.  [act  L 

If  now  'twere  fit  to  do't.  —  At  the  first  sight 
They  have  chang'd  eyes.  —  Delicate  Ariel,  440 

I'll  set  thee  free  for  this.  —  [To  hiTri]  A  word,  good  sir ; 
I  fear  you  have  done  yourself  some  wrong :  a  word. 

Miranda.   Why  speaks  my  father  so  un gently  ?     This 
Is  the  third  man  that  e'er  I  saw,  the  first 
That  e'er  I  sigh'd  for ;  pity  move  my  father 
To  be  inclined  my  way ! 

Ferdinand.  O,  if  a  virgin, 

And  your  affection  not  gone  forth,  I'll  make  you 
The  Queen  of  Naples. 

Prospero.  Soft,  sir !  one  word  more.  — 

[^Aside']  They  are  both  in  cither's  powers ;   but  this  swift 

business 
I  must  uneasy  make,  lest  too  light  winning  450 

Make  the  prize  light.  —  [To  him]  One  word  more ;  I  charge 

thee 
That  thou  attend  me.     Thou  dost  here  usurp 
The  name  thou  owest  not,  and  hast  put  thyself 
Upon  this  island  as  a  spy,  to  win  it 
From  me,  the  lord  on't. 

Ferdinand.  No,  as  I  am  a  man. 

Miranda.    There's  nothing  ill  can  dwell  in  such  a  temple ; 
If  the  ill  spirit  have  so  fair  a  house. 
Good  things  will  strive  to  dwell  with't. 

Prospero.  [  To  Ferdinand]  Follow  me.  — 

Speak  not  you  for  him ;  he's  a  traitor.  —  Come ; 
I'll  manacle  thy  neck  and  feet  together :  460 

Sea-water  shalt  thou  drink ;  thy  food  shall  be 

Lat,  contra,  over  against;  role,  Lat.  rotulus,  a  roll.  — 440.  changed  eyes. 
'*  It  is  love  at  first  sight,  and  it  appears  to  me  that  in  all  cases  of  real  love, 
it  is  at  one  moment  that  it  takes  place."  Coleridge.  —  442.  ^svroiig. 
What?  —  A  polite  way  of  saying  'You  are  mistaken,'  or  something 
plainer  still  [Wright]  ? — 443.  Why  speaks,  etc.  Answered  in  449-451  ?  — 
445.  pity  move.  Abbott,  3G4,  305.  — 4415.  — O,  if,  etc.  Line  426.  Abbott, 
387.  —448.  soft  =  hold ?  stop?  Mer.  of  Ven.,  IV,  i,  312.  —449.  In  Shake- 
speare's 28th  sonnet,  we  have,  'And  each,  though  enemies  to  either's  reign '; 
in  Henry  V,  II,  ii,  lOG,  'As  two  yoke-devils  sworn  to  either's  purpose.'  — 
Abbott,  12.  —  452.  attend  =  wait  on,  or  follow?  accompany?  attend  to? 
Abbott,  200,  369.  Ellipsis? — 453.  owest  =  dost  possess?  ownest?  art  in- 
debted to?  See  on  405.  —  456.  temple.  Is  this  a  trace  of  Shakespeare's 
Bible  reading?  1  Corinth.,  vi,  19;  2  Corinth..,  vi,  16;  Macbeth,  II,  iii.  49. 
—  460.  manacle,  etc.  Neck  and  feet  were  drawn  close  together.  an<l  the 
position  soon  became  one  of  terrible  torture.  —  Lat.  nianus,  hand,  fri>m 
MA,  Sansk.  md,  to  measure;  Lat.  manica,  a  long  sleeve,  glove,  gauntlet, 


SCENE  II.]  THE   TEMPEST.  57 

The  fresh-brook  muscles,  withered  roots,  and  husks 
Wherein  the  acorn  cradled.     Follow. 

Ferdinand.  No ; 

I  will  resist  such  entertainment  till 
Mine  enemy  has  more  power. 

[_He  draws,  and  is  charmed  from  moving, 

Miranda,  0  dear  father ! 

Make  not  too  rash  a  trial  of  him,  for 
He's  gentle,  and  not  fearful. 

Frospero.  What !  I  say. 

My  foot  my  tutor  ?  —  Put  thy  sword  up,  traitor. 
Who  mak'st  a  show,  but  dar'st  not  strike,  thy  conscience 
Is  so  possessed  with  guilt :  come  £rom  thy  ward  ;  470 

For  I  can  here  disarm  thee  with  this  stick, 
And  make  thy  weapon  drop. 

Miranda.  Beseech  you,  father ! 

Frospero.   Hence  !  hang  not  on  my  garments. 

Miranda.  Sir,  have  pity ; 

I'll  be  his  surety. 

Frospero.  Silence  !  one  word  more 

Shall  make  me  chide  thee,  if  not  hate  thee !     What ! 
An  advocate  for  an  impostor !  hush ! 
Thou  think'st  there  is  no  more  such  shapes  as  he, 
Having  seen  but  him  and  Caliban ;  foolish  wench ! 
To  the  most  of  men  this  is  a  Caliban, 
And  they  to  him  are  angels. 

Miranda.  My  affections  480 

Are,  then,  most  humble ;  I  have  no  ambition 
To  see  a  goodlier  man. 

handcuff;  manicula,  dimin.  —  467.  gentle  =  'of  gentle  blood/  high-born 
[Wright,  Rolfe,  Phillpotts]  ?  noble,  high-minded,  of  a  lofty  spirit  [Smollett, 
Staunton,  Hudson]?  kind  [Schmidt]?  mild  and  harmless  [Ritson,  Fur- 
ness]? — fearful  =  timid,  cowardly  [Warburton,  Holt,  Smollett,  Staun- 
ton] ?  formidable,  terrible  [Malone,  Ritson,  Wright,  Deighton,  Furness]  ? 
*'  There  may  be  a  covert  play  upon  the  other  significations  both  of  *  gen- 
tle '  and  'fearful.'"  Wright. — 4(38. — my  foot  my  tutor '.^  Similar 
expressions  are  repeatedly  found  in  authors  of  the  Elizabethan  age.  Yet 
Walker  proposed  and  Dyce  and  Hudson  adopted  fool  for  foot !  — '  The  foot 
above  the  head.'  Timon  of  Ath.,  I,  i,  95,  96.  —  470.  ward  =  '  guard  '  made 
in  fencing,  posture  of  defence  [Schmidt]  ?  Says  Falstaff  {1  Hemn/  IV,  II, 
iv,  181, 182),  "  Thou  knowest  my  old  iva7'd;  here  I  lay,  and  thus  I  bore  my 
point.  Four  rogues  in  buckram  let  drive  at  me."  —  Teut.  base  w^ar,  to 
defend;  A.  ^.loeard,  guard,  watchman.  Guard  is  a  doublet  of  ward.— 
4tl2.  beseech  you.  Ellipsis?  Line  369.  The  desire  of  brevity  a  suffi- 
cient explanation?    Abbott,  283.-477.  there  is.    See  on  *  cares/  I,  i,  16. 


5S  THE  TEMPEST.  [ACT  I.  SCENE  II. 

Prospero.    [^To  Fei^dinand^  Come  on-,  obey: 
Thy  nerves  are  in  their  infancy  again, 
And  have  no  vigor  in  them. 

Ferdinand.  So  they  are ; 

My  spirits,  as  in  a  dream,  are  all  bound  up. 
My  father's  loss,  the  weakness  which  I  feel. 
The  wrack  of  all  my  friends,  nor  this  man's  threats 
To  whom  I  am  subdued,  are  but  light  to  me, 
Might  I  but  through  my  prison  once  a  day 
Behold  this  maid.     All  corners  else  o'  the  earth  490 

Let  liberty  make  use  of ;  space  enough 
Have  I  in  such  a  prison. 

Prospero.  [Aside]  It  works.  —  [To  Feixlinand]  Come  on. — 
Thou  hast  done  well,  fine  Ariel !  —  Follow  me.  — 
[  To  Ariel]    Hark  what  thou  else  shalt  do  me. 

Miranda.  Be  of  comfort. 

My  father's  of  a  better  nature,  sir, 
Than  he  appears  by  speech ;  this  is  unwonted 
Which  now  came  from  him. 

Prospero.  Thou  shalt  be  as  free 

As  mountain  winds ;  but  then  exactly  do 
All  points  of  my  command. 

Ariel.  To  the  syllable. 

Prospero.    Come,  follow.  —  Speak  not  for  him.      [^Exeunt. 

— 483.  nerves.  Cotgrave  (1632)  defines  nerf  thus:  *a  synnow  [sinew]  ; 
and  thence  might,  strength,  force,  power.'  Schmidt  says  that,  in  Shakes., 
'  nerve  *  is  *  that  in  which  the  strength  of  a  body  lies,'  and  that  it  rather  is 
equivalent  to  'sinew,  tendon,  than  an  organ  of  sensation  and  motion.'  — 
Hamlet,  I,  iv,  83.  —  In  Milton's  Comus,  659,  660,  we  have 

"  Nay,  lady,  sit :  if  I  bat  wave  this  wand, 
Your  nerves  are  all  chained  up  in  alabaster." 

4&5.  as  in  a  dream,  ^neid,  xii,  908-912.  —487.  nor.  Supply  the  ellip- 
sis. Abbott,  396.-488.  but  =  otherwise  than  ?  merely  ?  —480.  mi«^ht  I, 
etc.  So  in  Chaucer's  Knight's  Tale,  370-380  (1228-1237,  Gilnum's  ed., 
1879).    So  Lovelace  (I6I8-I608)  sings  in  prison, — 

*'  When  Love  with  unconfined  wings 
Hovers  within  my  gates, 
And  my  divine  Altnea  brings 
To  whisper  at  my  grates. 


Stone  walls  do  not  a  prison  make, 

Nor  iron  bars  a  cjige  ; 
Minds  innocent  and  quiet  take 

That  for  a  hermitage. 

If  I  have  freedom  in  my  love, 
And  in  my  soul  am  free, 

Angels  alone  that  soar  above 
Eiyoy  such  liberty." 


ACT  II.  SCENE  I.]  THE  TEMPEST.  59 


ACT  II. 

Scene  I.   Another  Part  of  the  Island, 

Enter  Alonso,   Sebastian,   Antonio,  Gonzalo,  Adrian 
Francisco,  and  others. 

Gonzalo,   Beseech  you,  sir,  be  merry ;  you  have  cause  — 
So  have  we  all  —  of  joy ;  for  our  escape 
Is  much  beyond  our  loss.     Our  hint  of  woe 
Is  common :  every  day,  some  sailor's  wife, 
The  masters  of  some  merchant,  and  the  merchant, 
Have  just  our  theme  of  woe ;  but  for  the  miracle  — 
I  mean  our  preservation  —  few  in  millions 
Can  speak  like  us :  then  wisely,  good  sir,  weigh 
Our  sorrow  with  our  comfort. 

Alonso.  Prithee,  peace. 

Sebastian.   He  receives  comfort  like  cold  porridge.  lO 

Antonio.   The  visitor  will  not  give  him  o'er  so. 

Sebastian.   Look,  he's  winding  up  the  watch  of  his  wit ; 
by  and  by  it  will  strike. 

Gonzalo.    Sir,  — 

Sebastian.   One;  tell. 

ACT  II.    Scene  I.    Lines  1,  2.    Keightley  transposes  thus : 

"  You  have  cause 
Of  joy,  — so  have  we  all." 

He  declares  the  original  text  a  *  printer's  error.*  But  Gonzalo  wishes  to 
emphasize  Joy.  By  holding  it  back,  does  it  not  come  out  later  with  more 
emphasis?  — 3.  hint.  I,  ii,  134.  —  5.  merchant  =  merchantman ?  trad- 
ing ve^ssel  ?    So  in  Marlowe's  Tamburlainey  — 

•'And  Christian  merchants,  that,  with  Russian  stems 
Plough  up  huge  furrows  in  the  Caspian  seas." 

— 11.  visitor.  Peculiar  sense?  —  "I  was  sick,  and  ye  visited  me." 
Matt. J  XXV,  36. — 12.  winding  .  .  .  watch.  "  The  invention  of  striking 
watches  is  ascribed  to  Peter  Hele,  of  Nuremberg,  about  the  year  1510." 
W.  A.  Wright,  — 15.  tell.  A.  S.  tellan,  to  count.  So  'tellers*  count 
money  or  votes;  *  all  told,'  *  tell  off/  *  untold  wealth,'  etc. ;  Psalms,  xlviii. 


60  THE  TEMPEST.  [act  II. 

Gonzalo.   When  every  grief  is  entertain'd  that's  offered. 
Comes  to  the  entertainer  — 

Sebastian.   A  dollar. 

Gonzalo.   Dolor  comes  to  him,  indeed ;  you  have  spoken 
truer  than  you  purpos'd.  20 

Sebastian,   You  have  taken  it  wiselier  than  I  meant  you 
should. 

Gonzalo.  *  Therefore,  my  lord,  — 

Antonio.   Fie,  what  a  spendthrift  is  he  of  his  tongue ! 

Alonso.   I  prithee,  spare. 

Gonzalo.   Well,  I  have  done ;  but  yet,  — 

Sebastian.    He  will  be  talking. 

Antonio.   Which  —  of — he  or  Adrian  —  for  a  good  wager, 
first  begins  to  crow  ? 

Sebastian.   The  old  cock.  30 

Antonio.   The  cockerel. 

Sebastian.   Done.     The  wager? 

Antonio.    A  laughter. 

Sebastian.   A  match ! 

Adrian.   Though  this  island  seem  to  be  desert,  — 

Antonio.   Ha,  ha,  ha ! 

Sebastian.    So,  you're  paid. 

Adrian.    Uninhabitable,  and  almost  inaccessible,  — 

Sebastian.   Yet,  — 

Adrian.   Yet,  —  40 

Antonio.   He  could  not  miss't. 

Adrian.   It  must  needs  be  of  subtle,  tender,  and  delicate 
temperance. 

Aritonio.   Temperance  was  a  delicate  wench. 

Sebastian.   Ay,  and  a  subtle;  as  he  most  learnedly  de- 
livered. 40 

Adrian.   The  air  breathes  upon  us  here  most  sweetly. 

Sebastian.   As  if  it  had  lungs,  and  rotten  ones. 


12.  — 18,  19,  dollar  .  ,  .  dolor.  The  paronomasia  is  ancient.  Lear,  II, 
iv,  50.  —  28.  of  he  or  Adrian.  Justify  'he.'  Suppose  Antonio  i[)egins 
'Which  of,'  and  then  checks  himself,  saying  (or  implying  by  a  gesture, 

*  is  it ')  *  he?  or  Adrian  ?  '  In  an  undertone ? —  *  Like  the  French  Lequol 
preferez-vous  de  Corueille  ou  de  Racine.'    Phila.  Sh.  Soc.  —  Abbott,  20(), 

*  he  for  him  ' ;  Furness,  on  As  Tom  L.  I.,  Ill,  ii,  (337)  350,  —  Note  in  V,  i, 
15,  'him'  for  *he.'  —  31.  cockerel.  Said  to  be  a  double  dimin.,  like 
pick-er-ely  mack-er-el.  —  30.  Which  won?  —  37.  paid.  Explain. — 43. 
temperance  =  temperature  [Steevens]  ?  —  44.  was.  Emphatic  ?  The 
virtues  made  convenient  names?  —  45.  deli ver'd  =  related ?  declared? 


SCENE  I.]  THE  TEMPEST.  61 

Antonio.   Or  as  'twere  perfumed  by  a  fen. 

Gonzcdo.   Here  is  every  thing  advantageous  to  life.  60 

Antonio,   True;  save  means  to  live. 

Sebastian,    Of  that  there's  none,  or  little. 

Gonzalo,   How  lush  and  lusty  the  grass  looks !  how  green ! 

Antonio,   The  ground,  indeed,  is  tawny. 

Sebastian,   With  an  eye  of  green  in't. 

Antonio,    He  misses  not  much. 

Sebastian.   No;  he  doth  but  mistake  the  truth  totally. 

Gonzalo,  But  the  rarity  of  it  is,  —  which  is  indeed  almost 
beyond  credit,  — 

Sebastian,   As  many  vouched  rarities  are.  60 

Gonzalo,  That  our  garments,  being,  as  they  were,  drenched 
in  the  sea,  hold,  notwithstanding,  their  freshness  and  glosses 
being  rather  new-dyed  than  stained  with  salt  water. 

Antonio,  If  but  one  of  his  pockets  could  speak,  would  it 
not  say  he  lies  ? 

Sebastian,   Ay,  or  very  falsely  pocket  up  his  report. 

Gonzalo,  Methinks  our  garments  are  now  as  fresh  as  when 
we  put  them  on  first  in  Afric,  at  the  marriage  of  the  king's 
fair  daughter  Claribel  to  the  King  of  Tunis. 

Sebastian,  'Twas  a  sweet  marriage,  and  we  prosper  well 
in  our  return.  71 

Adrian,  Tunis  was  never  graced  before  with  such  a  para- 
gon to  their  queen. 


formally  uttered  speech-fashion?  —  48,  49.  Coriolanus,  III,  iii,  120,  121.  — 
63.  lush  and  lusty.  "Shakes,  has  'lush'  (short  for  luscious)  in  the 
sense  of  luxuriant  in  growth,  where  Chaucer  would  certainly  have  said 
histy ;  the  curious  result  being  that  Shakes,  uses  both  words  together." 
Skeat.  See  Tennyson's  Dream  of  Fair  Women,  line  71. — 54.  taw^ny. 
Another  spelling  of  tanny,  i.e.  resembling  that  which  is  tanned  by  the 
sun.  Skeat.  See  on  orange-tawny  in  our  Mid.  N.  Dr.,  I,  ii,  82.  —  55.  eye 
of  green.  Is  *  eye '  put  for  what  the  eye  reveals?  —  eye  =  small  shade 
[Steevens]  ?  small  portion  [Malone]  ?  quibbling  reference  to  green-eyed 
credulity  [Hunter]?  —  "The  jesting  pair  mean  that  the  grass  is  really 
tawny  {tanned,  dried  up) ,  and  that  the  only  '  green '  spot  in  it  is  Gonzalo 
himself."  Phillpotts.  —  ()3.  stained,  etc.  "Sea-water  freshens  and 
cleanses  woollen  cloth."  Stearns's  «S/i«A;es/)eotre  Treasury.  —  64.  pockets, 
etc.  Supposed  full  of  mud?  —  65.  pocket-up  =  conceal  (as  in  the 
pocket)?  pusillanimously  ignore?  take  clandestinely  or  fraudulently?  — 
72.  paragon.  Hamlet,  II,  ii,  302.  —  Span,  para  (from  Lat.  pro^  forth, 
and  ad,  to),  in  comparison ;  con,  Lat.  cum,  with;  Fr.  and  Span,  paragon, 
pattern,  perfect  model.  Skeat,  Webster's  Int,  Diet,  makes  it  fr.  Gr. 
Trapa,  para,  beside,  and  aKov-q,  akone,  whetstone.  —  73.  to.  So  "  Wilt  thou 
have  this  woman  to  thy  wedded  wife,"  in  the  'Marriage  Office'  in  tho 
Book  of  Common  Prayer;  Mark,  xii,  23.    See  III,  iii,  64;  Abbottp  189.— 


t>2  THE   TEMPEST.  [act  II. 

Gonzalo.   Kot  since  widow  Dido's  time. 

Antonio.  Widow !  a  plague  o'  that !  How  came  that 
widow  ill  ?     Widow  Dido ! 

Sebastian.  What  if  he  had  said  widower  ^neas  too  ? 
Good  Lord,  how  you  take  it ! 

Adrian.  Widow  Dido,  said  you  ?  you  make  me  study  of 
that ;  she  was  of  Carthage,  not  of  Tunis.  80 

Gonzalo.    This  Tunis,  sir,  was  Carthage. 

Adrian.    Carthage  ? 

Gonzalo.   I  assure  you,  Carthage. 

Antonio.    His  word  is  more  than  the  miraculous  harp. 

Sebastian.    He  hath  raised  the  wall,  and  houses  too. 

Antonio.  W^hat  impossible  matter  will  he  make  easy 
next? 

Sebastian.  I  think  he  will  carry  this  island  home  in  his 
pocket,  and  give  it  his  son  for  an  apple. 

Antonio.  And,  sowing  the  kernels  of  it  in  the  sea,  bring 
forth  more  islands.  90 

Gonzalo.   Ay  ? 

Antonio.   Why,  in  good  time. 

Gonzalo.  Sir,  we  were  talking  that  our  garments  seem 
now  as  fresh  as  when  we  were  at  Tunis  at  the  marriage  of 
your  daughter,  who  is  now  queen. 

Antonio.   And  the  rarest  that  e'er  came  there. 

Sebastian.    Bate,  I  beseech  you,  widow  Dido. 

Antonio.    0,  widow  Dido !  ay,  widow  Dido. 

Gonzalo.  Is  not,  sir,  my  doublet  as  fresh  as  the  first  day 
I  wore  it  ?     I  mean,  in  a  sort.  100 

Antonio.   That  sort  was  well  fished  for. 

Gonzalo.   When  I  wore  it  at  your  daughter's  marriage  ? 


74.  Dido.  Troy  is  said  to  have  been  captured  about  1184  B.C. ;  Dido,  to 
have  founded  Carthage  about  853  b.c.  Her  husband  was  Syehneus; 
Eneas'  wife,  Creusa.  It  would  seem,  tlierefore,  that  about  330  years 
intervened  between  widow  and  widower;  but  Vergil  cares  no  more  than 
Shakespeare  for  accurate  chronology.  ACneld,  ii,  iv. — 75.  widow.  Om- 
inous !  — 80.  Tunis.  Some  three  or  four  miles  from  the  ruins  of  Carthage. 
—  84.  harp.  Amphion's  lyre  is  said  to  have  raised  the  walls  of  Thebes; 
Apollo's,  those  of  Troy.  Has  Gonzalo's  word  made  two  cities  one  ?  — 
97.  Bate  =  except?  omit?  See  I,  ii,  250;  also  on  'bated  '  in  our  ^fcr.  of 
Veil.,  I,  iii,  114.  — 101.  sort  =  word  'sort'?  Was  the  word  'fished' 
suggested  by  '  sort '  ?  "  When  the  net  is  drawn,  the  fish  are  always,  what 
they  terra  *  sorted ' ,'  some  are  thrown  back  into  the  water,  others  carried 
sorted  to  market."  Dirrlll.  See  on  association  of  ideas  our  As  You  Like 
It,  n,   vii,  44;  Furuess'  Var.  Ed.  of  As   You  Like  It,  pp.   109-111.-— 


SCEXE  I.]  THE  TEMPEST.  63 

Alonso.     You  cram  these  words  into  mine  ears  against 
The  stomach  of  my  sense.     Would  I  had  never 
Married  my  daughter  there  !  for,  coming  thence, 
My  son  is  lost ;  and,  in  my  rate,  she  too, 
Who  is  so  far  from  Italy  remov'd 
I  ne'er  again  shall  see  her.     0  thou  mine  heir 
Of  Naples  and  of  Milan,  what  strange  fish 
Hath  made  his  meal  on  thee  ? 

Francisco.  Sir,  he  may  live  llO 

I  saw  him  beat  the  surges  under  him. 
And  ride  upon  their  backs ;  he  trod  the  water. 
Whose  enmity  he  flung  aside,  and  breasted 
The  surge  most  swoln  that  met  him ;  his  bold  head 
'Bove  the  contentious  waves  he  kept,  and  oar'd 
Himself  with  his  good  arms  in  lusty  stroke 
To  the  shore,  that  o'er  his  wave-worn  basis  bow'd, 
As  stooping  to  relieve  him.     I  not  doubt 
He  came  alive  to  land. 

Alonso,  No,  no,  he's  gone. 

Sebastian.    Sir,  you  may  thank  yourself  for  this  great  loss, 
That  would  not  bless  our  Europe  with  your  daughter,        121 
But  rather  lose  her  to  an  African ; 
Where  she  at  least  is  banish'd  from  your  eye, 
Who  hath  cause  to  wet  the  grief  on't. 

Alonso.  Prithee,  peace. 

Sebastian.    You  were  kneel'd  to,  and  importun'd  otherwise. 
By  all  of  us ;  and  the  fair  soul  herself 
Weigh'd  between  loathness  and  obedience,  at 
Which  end  o'  the  beam  should  bow.    We  have  lost  your  son, 

103.  cram.  As  unpalatable  food  into  one's  mouth?  — 106.  rate.  Lat. 
reor,  ratum,  reckon,  think,  value,  estimate  ?  I,  ii,  92 ;  Mer.  of  Ven.,  II,  vii, 
26.  — 113.  enmity.  Note  the  vivid  personifications  in  this  speech.  Jul. 
Cxs.,  I,  ii,  104,  105.  — 115.  oar'd.  Observe  the  turning  of  other  *  parts  of 
speech  '  into  verbs.  Abbott,  290.  —  See  Odyssey,  xii,  444,  "  I  rowed  with 
ray  hands";  Par.  Lost,  vii,  438.  — 117.  his.  I,  ii,  95,  392;  Abbott,  22S; 
"  if  the  salt  have  lost  his  savor,"  Matt.,  v,  13.  —  118.  not  doubt,  V,  i,  38, 
113,  304;  Abbott,  305. —  121.  who  hath  cause,  etc.  =  who,  lost  to  sight 
by  banishment,  though  not  by  death,  hath  yet  cause  to  fill  your  eyes  with 
tears  [Wright]  ?  which  [eye]  has  cause  to  give  tearful  expression  to  the 
sorrow  for  your  folly  [Abbott,  264]?  whose  unsuitable  marriage  might 
well  make  you  weep  [Phillpotts]  ?  which  hath  cause  to  sprinkle  your  grief 
with  tears  [Hudson,  Meiklejohn,  Deighton,  etc.]  ?  —  125.  importun'd. 
Accent?  So  usually  in  Shakes.  — 127.  weigh'd  =  was  evenly  balanced 
[Wright,  Meikleiohn] ?  hesitated  [Hudson]?  pondered,  deliberated  [Fur- 
ness,  Deighton]  ?  — 128.  at  which  end  o'  th'  beanie  should  bow. 


64  THE  TEMPEST,  [act  II. 

I  fear,  forever ;  Milan  and  Naples  have 

Moe  widows  in  them  of  this  business'  making,  130 

Than  we  bring  men  to  comfort  them :  the  fault's 

Your  own. 

Alonso.   So  is  the  dear'st  o'  the  loss. 

Gonzalo,  My  lord  Sebastian, 

The  truth  you  speak  doth  lack  some  gentleness, 
And  time  to  speak  it  in ;  you  rub  the  sore, 
When  you  should  bring  the  plaster. 

/Sebastian.  Very  well. 

Antonio,    And  most  chirurgeonly. 

Gonzalo.    It  is  foul  weather  in  us  all,  good  sir, 
When  you  are  cloudy. 

Sebastian.  Foul  weather  ? 

Antonio.  Very  foul. 

Gonzalo.   Had  I  plantation  of  this  isle,  my  lord,  —        140 

Antonio.   He'd  sow  't  with  nettle-seed. 

Sebastian.  Or  docks,  or  mallows. 

Gonzalo.   And  were  the  king  on  't,  what  would  I  do  ? 

Sebastian.    Scape  being  drunk,  for  want  of  wine. 

Gonzalo.   V  the  commonwealth  I  would  by  contraries 
Execute  all  things ;  for  no  kind  of  traffic 
Would  I  admit ;  no  name  of  magistrate ; 


So  the  folio.  But  most  critics  change  should  to  *  sh  'ould  *  or  *  she  'd/ 
meaning  she  ivould.  But  they  don't  tell  us  why  she  should  make  a  bow 
at  either  end!  — The  question  which  she  *  weighed,'  or  at  which  she  hesi- 
tated, was,  "Shall  my  *  loathness '  (unwillingness,  reluctance,  disgust) 
outweigh  my  duty  of  obedience  to  my  father,  or  shall  the  obedience  out- 
weigh the  loathness?  "  In  one  scale,  loathness  ;  in  the  other,  obedience  — 
which  end  of  the  beam  shall  sink  ?  not  at  which  end  of  the  beam  shall  I 
bow  my  head  or  bend  my  body!  — All  the  emendations  remind  us  of  black- 
smiths tinkering  watches.  See  on  I,  ii,  155.  —  Personification  here,  as  in 
lines  117,  118?  — 130.  moe  is  plural.  Anciently  moe  was  used  of  num- 
bers; more,  of  size.  Skeat.  — 132.  dear'st.  Often  in  Shakes,  dear  = 
heart-touching,  as  dearest  foe  in  Hamlet ,  I,  ii,  182.  See  our  ed.  For  a 
discussion  of  the  word,  see  Furness'  Var.  Ed.,  Rom.  ami  Jul.,  V,  iii,  32, 
pp.  272,  273.  —  13().  chirurgeonly.  (Jr.  xf'p>  cheir,  hand;  Hpy^iv,  ergein, 
work.  A  *  chirurgeon  '  (shortened  to  sur(feon)  is  a  hand-worker,  not  a 
drug-giver!  Does  Shakes,  recognize  the  etymology  in  '*  I  am  indeed,  sir, 
a  surgeon  to  old  shoes.  ...  As  proper  men  as  ever  trod  upon  neat's 
leather  have  gone  upon  my  handiwork.''  Our  Jul.  Cxs.,  I,  i,  24,  26. — 
139.  cloudy.  With  anger,  or  sorrow?  — 140.  plantation  =  planting? 
colonizing.  — 143.  drunk,  etc.  **  Shakes,  never  puts  habitual  scorn  into 
tlie  mouths  of  other  than  bad  men,"  says  Coleridge.  — 145-161.  This 
passage,  Capell  (1766)  and  all  subsequent  commentators  declare  to  be 
taken  from  Florio's  (1603  or  1604)  translation  of  Montaigne's  Essays. 
But  whoever  would  truuslate  Montaigne  into  English  must  use  substau- 


SCENE  I.]  THE   TEMPEST,  65 

Letters  should  not  be  known ;  riches,  poverty, 
And  use  of  service,  none ;  contract,  succession, 
Bourn,  bound  of  land,  tilth,  vineyard,  none ; 
No  use  of  metal,  corn,  or  wine,  or  oil ;  160 

No  occupation ;  all  men  idle,  all ; 
And  women  too,  but  innocent  and  pure ; 
No  sovereignty;  — 
■  Sebastian.  Yet  he  would  be  king  on  't. 

Antonio.  The  latter  end  of  his  commonwealth  forgets  the 
beginning. 

Gonzalo.   All  things  in  common  nature  should  produce 
Without  sweat  or  endeavor :  treason,  felony. 
Sword,  pike,  knife,  gun,  or  need  of  any  engine. 
Would  I  not  have ;  but  nature  should  bring  forth, 
Of  it  own  kind,  all  foison,  all  abundance  160 

To  feed  my  innocent  people. 

Sebastian.   No  marrying  'mong  his  subjects  ? 

Antonio.   None,  man ;  all  idle ;  —  and  knaves. 

Gonzalo.   I  would  with  such  perfection  govern,  sir, 
To  excel  the  golden  age. 

Sebastian.  Save  his  majesty ! 

Antonio.   Long  live  Gonzalo ! 

Gonzalo.  And,  —  do  you  mark  me,  sir  ?  — 

Alonso.   Prithee,  no  more ;  thou  dost  talk  nothing  to  me. 

Gonzalo.  I  do  well  believe  your  highness ;  and  did  it  to 
minister  occasion  to  these  gentlemen,  who  are  of  such  sen- 
sible and  nimble  lungs  that  they  always  use  to  laugh  at 
nothing.  171 

Antonio.   'Twas  you  we  laughed  at. 

tially  the  same  phraseology,  and  Shakes,  may  have  drawn  directly  from 
the  French.  There. is,  however,  in  the  British  Museum  a  copy  of  Florio's 
translation  containing  what  is  supposed  to  be  a  genuine  autograph  of 
Shakespeare.  — 149.  bourn.  *  Doublet '  of  hound  ;  Old  Fr.  bonne ;  Mod. 
Fr.  home,  limit,  boundary,  landmark.  Bracket,  Skeat.  —  tilth.  A.  S. 
tilian,  to  till.  The  suffix  th  usually  denotes  condition  or  state,  or  the 
action  of  a  verb  taken  abstractly.  See  on  wealth  in  our  Mer.  of  Ven.,  V, 
i,  237,  — 158.  engine  =  instrument  of  war,  or  military  machine  [Steevens]  ? 
■ — Lat.  ingenium,  ingenious  contrivance.  — 160.  It.  See  on  ifs,  I,  ii,  95. 
—  foison.  Lat. /^^5^o,  pouring,  profusion,  IV,  i,  110;  see  our  Macbeth, 
IV,  iii,  88.  — 163.  all  idle;  whores  and  knaves.  Cause  and  effect. 
— 165.  to  =  as  to?  Abbott,  281.  —  golden  age.  The  imagined  age  of 
primeval  simplicity,  purity,  and  peace.  The  poets  of  many  nations  have 
sung  of  such  an  Eden  in  the  far  past.  — 169.  sensible  =  sensitive  ?  Often 
so  in  Shakes.  —  nimble.  A.  S.  niman,  to  take.  **  The  sense  is  *  quick  at 
seizing,'  hence  active.' '    Skeat.    Sensitive  and  nimble  lungs  are  those 


66  THE  TEMPEST.  [act  IL 

Gonzalo.  Who,  in  this  kind  of  merry  fooling,  am  nothing 
to  you ;  so  you  may  continue,  and  laugh  at  nothing  still. 

Antonio,   What  a  blow  was  there  given ! 

Sebastian.   An  it  had  not  fallen  flat-long. 

Gonzalo.  You  are  gentlemen  of  brave  mettle ;  you  would 
lift  the  moon  out  of  her  sphere,  if  she  would  continue  in  it 
five  weeks  without  changing. 

Enter  Ariel  (invisible)  playing  solemn  music. 

Sebastian.   We  would  so,  and  then  go  a  bat-fowling.       180 

Antonio.   Nay,  good  my  lord,  be  not  angry. 

Gonzalo.  No,  I  warrant  you;  I  will  not  adventure  my 
discretion  so  weakly.  Will  you  laugh  me  asleep,  for  I  am 
very  heavy  ? 

Antonio.    Go  sleep  and  hear  us. 

\_All  sleep  except  Alonso,  Sebastian,  and  Antonio, 

Alonso.   What,  all  so  soon  asleep !     I  wish  mine  eyes 
Would,  with  themselves,  shut  up  my  thoughts ;  I  find 
They  are  inclin'd  to  do  so. 

Sebastian.  Please  you,  sir, 

Do  not  omit  the  heavy  offer  of  it : 

It  seldom  visits  sorrow ;  when  it  doth,  190 

It  is  a  comforter. 

Antonio.  We  two,  my  lord, 

characterized  as  'tickle  o'  the  sere.'  Hamlet,  II,  ii,  317.  — 176.  An  =  if? 
yes,  if?  Abbott,  101.  —  flat-long  =  striking  with  the  flat  side  instead  of 
the  sharp  edge  ?  —  Adv.  like  headlong.  Old  Eug.  dative  fern.  sing.  Morris' 
Eng.  Accidence,  sec.  311.  —  So  flatling  in  Faerie  Q.,  V,  v,  18. —  177. 
mettle.  Spelled  *  mettal '  in  the  folio.  So  we  say  '  man  of  iron,'  '  of  true 
steel,'  etc.  — 178.  sphere.  One  of  the  8  revolving,  transparent,  hollow, 
concentric,  bubhle-like  shells  of  the  Ptolemaic  or  Alphonsine  astronomy. 
In  the  first  7,  the  *  seven  planets,'  i.e.  Moon,  Mercury,  Venus,  Sun,  Mars, 
Jupiter,  Saturn,  respectively,  were  supposed  to  be  fastened,  and  in  the 
8th  the  fixed  stars.  Hamlet,  IV,  vii,  15;  Mid.  N.  Dr.,  II,  i,  150;  Milton's 
Hymn  on  the  Nativity,  stanza  xiii. 

180.  a  bat-fowling.  An  ancient  mode  of  catching  many  sorts  of  birds 
in  a  dark  night  by  blinding  or  bewildering  them  with  bright  torches, 
having  beaten  them  from  their  haunts  or  nests  with  poles.  Markham's 
Hunger's  Pi^evention,  1621,  quoted  by  Furness.  The  a  is  fr.  A.  S.  on  or 
an.  Abbott,  140.  See  on  amain,  IV,  i,  74.  — 182.  adventure  .  .  . 
weakly,  etc.  =  risk  so  foolishly  my  reputation  for  discretion  ?  Cym- 
beline,  I,  vi,  172.  — 184.  heavy.  '  Heavy  with  sleep,'  Luke,  ix,  33.  Often 
for  '  drowsy  '  in  Shakespeare ;  oftener  for  sad,  sorrowful.  Mer.  of  Ven.,  V, 
,  130,  _  185.  hear  us.  Keightley  and  Hudson  add  *  not '  after  *  us.'  But 
hy  not  let  Antonio  have  his  little  jest  ?  — 189.  omit.  I,  ii,  183.  **  *  Heavy ' 
1  this  line  is  proleptic  or  anticipatory,"  say  the  critics.  — 190.  visits 
sorrow.    See  in  Young's  Night  Thoughts  the  fine  lines  beginning,  '  Tired 


SCENE  I.]  THE   TEMPEST.  67 

Will  guard  your  person  while  you  take  your  resi,^ 
And  watch  your  safety. 

Alonso.  Thank  you.  —  Wondrous  heavy. 

\_Alonso  sleeps.     Exit  Ariel. 

Sebastian.   What  a  strange  drowsiness  possesses  them ! 

Antonio.   It  is  the  quality  o'  the  climate. 

Sebastian.  Why 

Doth  it  not  then  our  eyelids  sink  ?     I  find  not 
Myself  disposed  to  sleep. 

Antonio.  Nor  I;  my  spirits  are  nimble. 

They  fell  together  all,  as  by  consent ; 
They  dropp'd,  as  by  a  thunder-stroke.     What  might, 
Worthy  Sebastian  ?  —  0,  what  might  ?  —  No  more.  —      200 
And  yet  methinks  I  see  it  in  thy  face, 
What  thou  shouldst  be ;  the  occasion  speaks  thee,  and 
My  strong  imagination  sees  a  crown 
Dropping  upon  thy  head. 

Sebastian.  What,  art  thou  Avaking  ? 

Antonio.   Do  you  not  hear  me  speak  ? 

Sebastian.  I  do ;  and  surely 

It  is  a  sleepy  language,  and  thou  speak'st 
Out  of  thy  sleep.     What  is  it  thou  didst  say  ? 
This  is  a  strange  repose,  to  be  asleep 
With  eyes  wide  open ;  standing,  speaking,  moving, 
And  yet  so  fast  asleep. 

Antonio.  Noble  Sebastian,  210 

Thou  let'st  thy  fortune  sleep  —  die,  rather ;  wink'st 
Whiles  thou  art  waking. 

Sebastian.  Thou  dost  snore  distinctly ; 

There's  meaning  in  thy  snores. 

Antonio.    I  am  more  serious  than  my  custom  :  you 
Must  be  so  too,  if  heed  me ;  which  to  do. 
Trebles  thee  o'er. 

nature's  sweet  restorer,  balmy  sleep.'  — 198.  consent.  Lat.  coiisentire^ 
to  agree.  Lat.  con,  together;  sentire,  to  perceive  by  the  senses,  to  feel. 
—  202.  shouldst  =  ought  est  to  [Furness]  ?  Macbeth,  I,  iii,  45;  Mer.  of 
Ven.,  II,  vi,  44;  Abbott,  323.  —  occasion  =  Gr.  Katpd?,  kairos;  Lat.  occa- 
sio,  critical  or  favorable  moment  [Phila.  Shakes.  iSoc]  ?  — speaks  thee 
=  expresses  thee  (i.e.  shows  thee  as  what  thou  canst  be  and  what  in  posse 
thou  art  now)  [Delius]  ?  shows  what  you  are  intended  for  [Jephson]  ?  pro- 
claims thee  [Wright]  ?  reveals  or  proclaims  thee  [Hudson]  ?— Macbeth,  IV, 
iii,  159;  Henry  VIII,  II,  iv,  139. —  211.  wink'st  =  shuttest  thine  eyes? 
Line  280;  Acts,  xvii,  30.-215.  if  heed.  So  '  O,  if  a  virgin,'  I,  ii,  496. 
For  ellipses  in  Shakes. ,  see  Abbott^  382-405.  —  216.  trebles.    How  multi- 


68  THE   TEMPEST.  [act.  IL 

Sebastian.  Well,  I  am  standing  water. 

Antonio.   I'll  teach  you  how  to  flow. 

Sebastian.  Do  so ;  to  ebb 

Hereditary  sloth  instructs  me. 

Antonio.  0, 

If  you  but  knew  how  you  the  purpose  cherish 
Whiles  thus  you  mock  it !  how,  in  stripping  it,  220 

You  more  invest  it !     Ebbing  men,  indeed, 
Most  often  do  so  near  the  bottom  run 
By  their  own  fear  or  sloth. 

Sebastian.  Prithee,  say  on  ; 

The  setting  of  thine  eye  and  cheek  proclaim 
A  matter  from  thee,  and  a  birth,  indeed. 
Which  throes  thee  much  to  yield. 

Antonio.  Thus,  sir : 

Although  this  lord  of  weak  remembrance,  —  this, 
'  Who  shall  be  of  as  little  memory 
When  he  is  earth'd,  —  hath  here  almost  persuaded,  — 
For  he's  a  spirit  of  persuasion,  only  230 

Professes  to  persuade,  —  the  king  his  son's  alive, 
'Tis  as  impossible  that  he's  undrown'd 
As  he  that  sleeps  here  swims. 

Sebastian.  I  have  no  hope 

That  he's  undrown'd. 

Antonio.  O,  out  of  that  no  hope 


plies  by  three?  Mer.  of  Ven.,  Ill,  ii,  153.  —  Wilson  would  change  trebles 
to  *  rebels,'  and  then  interpret  *  rebels  '  as  meaning  *  ripples,'  in  which  he 
would  find  a  pun  that  might  suggest  '  standing  water  ' !  Some  '  fooling  ' 
is  'admirable,'  and  some  is  not. —  218-221.  O,  if  you  knew  how  .  .  . 
invest  it,  etc.  =  O,  if  you  knew  how  that  metaphor,  which  you  use  in 
jest,  encourages!  how,  in  stripping  off  the  ambiguous  rhetorical  dress,  you 
the  more  clothe  the  purpose  with  the  garb  of  reasonableness !  Or,  If  you 
knew  how,  "  in  stripping  the  words  of  their  common  meaning,  and  using 
them  figuratively,  you  adapt  them  to  your  situation!  "  The  latter  expla- 
nation was  given  in  the  Edinburgh  Magazine,  in  Nov.,  178G.  "  The  more 
Sebastian,  by  putting  forward  his  natural  indolence,  seems  to  decline 
entering  into  Antonio's  counsels,  the  more,  as  Antonio  can  perceive,  he  is 
really  inclined  to  slip  into  them  as  into  a  garment  "  [Phillpotts]  ?  —  226. 
throes.  A.  S.  threaiv,  a  pain;  throwian,  to  suffer  pain:  threowan,  to 
afflict.  — 227.  this  lord  =  Gonzalo  [Johnson,  Jephson,  Phillpotts,  Fur- 
ness]  ?  Francisco  [Capell,  Hunter,  Hudson]?  See  110-119.  —  Francisco's 
age?  —  of  w^eak  remembrance  =  remembering  little?  having  a  weak 
memory?  —  228.  of  as  little  memory  =  as  little  remembered?  —  230. 
he's  =  he  is  [Johnson,  Furnessl  ?  he  has  [Steevens,  Monck  Mason.  Capell, 
Dyce,  Hunter,  Hudson]?  —  only  prof  esses  =  is  the  only  one  that  pro- 
fesses, or  makes  a  show  of  (persuading)  [Johnson]  ?  his  only  profession 


SCENE  I.]  THE   TEMPEST,  69 

What  great  hope  have  you !  no  hope  that  way  is 

Another  way  so  high  a  hope  that  even 

Ambition  cannot  pierce  a  wink  beyond, 

But  doubt  discovery  there.     Will  you  grant  with  me 

That  Ferdinand  is  drown'd  ? 

Sebastian,  He's  gone. 

Antonio.  Then,  tell  me, 

Who's  the  next  heir  of  Naples  ? 

Sebastian.  Claribel.  2ifl 

Antonio.    She  that  is  Queen  of  Tunis ;  she  that  dwells 
Ten  Jeagues  beyond  man's  life ;  she  that  from  ^Naples 
Can  have  no  note,  unless  the  sun  were  post,  — 
The  man  i'  the  moon's  too  slow,  —  till  new-born  chins 
Be  rough  and  razorable ;  she  that  from  whom 
We  all  were  sea-swallow'd,  though  some  cast  again, 
And  by  that  destiny  to  perform  an  act 
Whereof  what's  past  is  prologue,  what  to  come 
In  yours  and  my  discharge. 

Sebastian.  What  stuff  is  this  !     How  say  you  ? 

'Tis  true,  my  brother's  daughter's  Queen  of  Tunis ;  250 

So  is  she  heir  of  Naples ;  'twixt  which  regions 
There  is  some  space. 

Antonio.  A  space  whose  every  cubit 

Seems  to  cry  out,  '  How  shall  that  Claribel 

is  [Wright,  Furness,  Meiklejohn]?  —  237.  Wright  suggests  the  appropri- 
ateness of  *  wink  '  in  connection  with  ambition's  piercing  eye.  —  238.  but 
doubt,  etc.  =  (cannot)  but  doubt  ?  cannot  pierce  beyond  without  doubt- 
ing [Phila.  Shakes.  Soc. ;  Furness,  with  misgivings]  ?  Many  emendations 
have  been  proposed.    We  follow  the  folio. 

242.  man's  life  =  where  men  live  [Meiklejohn]  ?  a  lifetime  of  travel- 
ling [Steevens,  Hudson,  etc.]  ?  the  city  Zoa  (life)  south  of  Tunis  [Hun- 
ter] ?  seventy  years  [Croft,  in  Annotations  on  Plays  of  Shakespeare j  1810]  ? 
Croft  takes  seventy  years,  the  Scriptural  limit  of  man's  life  (Psalms,  xc, 
10) ,  adds  ten  leagues  to  the  seventy  years,  and  finds  the  sum  total  to  be 
eighty  leagues  I  As  magnitude  of  distance  is  important,  why  did  not 
Croft  reduce  the  leagues  to  miles,  and  then  say  70  years  +  30  miles  =  100 
miles?  —  243.  note  =  information,  knowledge,  intimation  [Wright,  Hud- 
son, etc.]?  letter?  —  Mer.  of  Ven.,  Ill,  iv,  51.  —  post  =  letter-carrier 
[Meiklejohn]  ?  Post  is  used  more  than  twenty  times  for  messenger  in 
Shakes.  —  244.  too  slow.  Because  lagging  behind  the  sun,  losing  nearly 
an  hour  a  day?  —  245.  that.  So  the  folio.  Most  editors  follow  Rowe  in 
omitting  'that.'  Such  apparent  anacoluthon,  or  confusion  of  construc- 
tions, due,  perhaps,  to  ellipsis,  is  quite  natural,  and  betrays  Antonio's  ex- 
citement?—  246.  cast.  Antithesis  of  'swallowed'?  Notice  how  this 
theatrical  word  '  cast '  (to  assign  parts  to  actors)  suggests  *  act,'  ^  perform,' 
'prologue,'  'discharge.'  Mid.  JH.  Dr.,  I,  ii,  83;  IV,  ii,  8.-249.  What 
stuff  is  this  ?    A  very  proper  question ! 


70  THE  TEMPEST.  [ACT  IL 

Measure  us  back  to  Naples  ?     Keep  in  Tunis, 

And  let  Sebastian  wake.'     Say,  this  were  death 

That  now  hath  seized  them ;  why,  they  were  no  worse 

Than  now  they  are.     There  be  that  can  rule  Naples 

As  well  as  he  that  sleeps ;  lords  that  can  prate 

As  amply  and  unnecessarily 

As  this  Gronzalo :  I  myself  could  make  260 

A  chough  of  as  deep  chat.     0,  that  you  bore 

The  mind  that  I  do !  what  a  sleep  were  this 

For  your  advancement !     Do  you  understand  me  ? 

Sebastian.   Methinks  I  do. 

Antonio.  And  how  does  your  content 

Tender  your  own  good  fortune  ? 

Sebastian.  I  remember 

You  did  supplant  your  brother  Prospero. 

Antonio.  True : 

And  look  how  well  my  garments  sit  upon  me ; 
Much  feater  than  before.     My  brother's  servants 
Were  then  my  fellows,  now  they  are  my  men. 

Sebastian.   But,  for  your  conscience  —  270 

Antonio.    Ay,  sir ;  where  lies  that  ?     If  'twere  a  kibe, 
'Twould  put  me  to  my  slipper ;  but  I  feel  not 
This  deity  in  my  bosom.     Twenty  consciences, 
That  stand  'twixt  me  and  Milan,  candied  be  they, 
And  melt,  ere  they  molest !     Here  lies  your  brother, 
No  better  than  the  earth  he  lies  upon. 
If  he  were  that  which  now  he's  like,  —  that's  dead ; 
Whom  I,  with  this  obedient  steel,  three  inches  of  it, 


253.  us  =  us  cubits?  —  Hudson  changes  'shall  that'  to  'shalt  thou.'  — 
keep  =  keep  she?  let  her  keep?  —  Keep  is  still  used  for  *  live,'  or  *  stay,* 
'dwell,'  iu  portions  of  New  England.  —  257.  be;  plural,  shortened  from 
E.  E.  been?  Ill,  i,  1.  —  2()1.  make  =  become ?  create?  train  to  be?  — 
make  a  chough  .  .  .  chat  =  train  a  chough  to  talk  as  deeply  [Jephson]  ? 

—  chough,  a  red-legged  Cornish  crow.  —  All's  Well,  IV,  i,  18. 

264.  content  =  contentment,  apathy  [Hudson,  Deighton]  ?  favorable 
judgment  [Rolfe]?  —  2(55.  tender  =  take  care  of,  look  out  for  [Hudson]  ? 
esteem  [Phillpotts]  ?  regard  [Rolfe,  Meiklejohn]  ?  or  value  [Holfe]  ?  — 
Henry  V,  II,  ii.  175;  As  You  Like  It,  V,  ii,  t)5.— 268.  feater.  See  on  I, 
ii,  377. — 271.  kibe  =  chilblain ?  chap  in  the  heel?  sore  heel?  —  See  note 
in  our  Hamlet,  V,  i,  l.'ii.  — 273.  deity.    Sarcastic?  — Scan.     Abbott,  471. 

—  274.  candied  =  congealed.  [Malone,  Schmidt,  Hudson,  Rolfe,  Deigh- 
ton, Meiklejohn]?  sugared  over,  and  so  insensible  [Wright]?  turned  to 
sugar  [Phillpotts]  ?  sophisticated,  like  Chaucer's  'spiced  conscience  '  [Jeph- 
son] ?  —  Ar.  and  Pers.  qand,  sugar ;  qandi,  made  of  sugar,  sugared.  Skeat. 
In  Timon  of  A.^  we  have,  IV,  iii,  224,  '  the  cold  brook  candied  with  ice.'  — 


SCENE  I.]  THE  TEMPEST.  7l 

Can  lay  to  bed  forever ;  whiles  you,  doing  thus, 

To  the  perpetual  wink  for  aye  might  put  280 

This  ancient  morsel,  this  Sir  Prudence,  who 

Should  not  upbraid  our  course.     For  all  the  rest, 

They'll  take  suggestion  as  a  cat  laps  milk ; 

They'll  tell  the  clock  to  any  business  that 

We  say  befits  the  hour. 

Sehastiaiu  Thy  case,  dear  friend, 

Shall  be  my  precedent ;  as  thou  got'st  Milan, 
I'll  come  by  Naples.     Draw  thy  sword ;  one  stroke 
Shall  free  thee  from  the  tribute  which  thou  pay'st, 
And  I  the  king  shall  love  thee. 

Antonio.  Draw  together ; 

And  when  I  rear  my  hand,  do  you  the  like,  290 

To  fall  it  on  Gonzalo. 

Sebastian.  0!  but — one  word  — 

[  They  talk  apart. 

Enter  Ariel,  with  music  and  song, 

Ariel   My  master  through  his  art  foresees  the  danger 
That  you,  his  friend,  are  in,  and  sends  me  forth,  — 
For  else  his  project  dies,  —  to  keep  them  living. 

[^Sings  in  GonzaWs  ear. 

While  you  here  do  snoring  lie, 
Open-eyed  conspiracy 

His  time  doth  take. 
If  of  life  you  keep  a  care, 
Shake  off  slumber,  and  beware; 

Awake !    Awake !  300 


280.  perpetual  =  continuous  ?  continuing  without  break  ?  Root  pat,  to 
go ;  Gr.  naT^lv,  patein,  to  tread ;  ttoIto?,  patos,  path;  Lat. per,  throughout.  — 
-wink.  Line  211.  —  aye.  Meaning?  Pronunciation?  —  A.  S.  a,  Icel.  ei, 
Gr.  aei,  aei,  ever,  always  ;  Lat.  sevum,  aye.  —  282.  should.  Abbott, 
322.  —  283.  suggestion.  Shakes,  apparently  uses  this  word  ten  times 
in  the  sense  of  temptation.  See  our  Macbeth,  I,  iii,  134.  — 284.  tell.  A.  S. 
tellan,  to  count.  Line  15.  —  287.  come  by.  In  Acts,  xxvii,  16,  and  Mer. 
of  Ven.,  I,  i,  3,  'come  by '  =  get.  — 290.  rear.  Jul.  Cses.,  Ill,  i,  30.— 
291.  fall.  Abbott,  291.-294.  them.  So  the  folio,  referring  probably  to 
Alonso  and  Gonzalo.  But  many  editors,  as  Dyce,  Hudson,  Clarke,  etc., 
change  them  to  'thee.'  Improvement?  permissible  change?  ''Ariel  is 
half  apostrophizing  the  sleeping  Gonzalo  and  half  talking  to  himself." 


72  THE   TEMPEST.  [act  II. 

Antonio.   Then  let  us  both  be  sudden. 

Gonzalo.    [  Waking']  Now,  good  angels 

Preserve  the  king !  —  [To  Sebastian  and  Antonio']  Why,  how 

now ?  —  \_To  Alonso]  Ho,  awake !  — 
[To  Sebastian  and  Antonio]  Why  are  you  drawn  ?  wherefore 
this  ghastly  looking  ? 

Alonso.    [  Wa]ci7ig]  What's  the  matter  ? 

Sebastian.   Whiles  we  stood  here  securing  your  repose. 
Even  now,  we  heard  a  hollow  burst  of  bellowing 
Like  bulls,  or  rather  lions ;  did  't  not  wake  you  ? 
It  struck  mine  ear  most  terribly. 

Alonso.  I  heard  nothing. 

Antonio.    0,  'twas  a  din  to  fright  a  monster's  ear, 
To  make  an  earthquake ;  sure,  it  was  the  roar  310 

Of  a  whole  herd  of  lions. 

Alonso.  Heard  you  this,  Gonzalo  ? 

Gonzalo.    Upon  mine  honor,  sir,  I  heard  a  humming,  — 
And  that  a  strange  one  too,  —  which  did  awake  me. 
I  shak'd  you,  sir,  and  cried ;  as  mine  eyes  open'd, 
I  saw  their  weapons  drawn :  —  there  was  a  noise. 
That's  verily.     'Tis  best  we  stand  upon  our  guard. 
Or  that  we  quit  this  place ;  let's  draw  our  weapons. 

Alonso.   Lead  off  this  ground;   and  let's  make  further 
search 
For  my  poor  son. 

Gonzalo.  Heavens  keep  him  from  these  beasts ! 

For  he  is,  sure,  i'  the  island. 

Alonso.  Lead  away.  320 

Ariel.   Prospero  my  lord  shall  know  what  I  have  done ; 
So,  king,  go  safely  on  to  seek  thy  son.  [Exeunt. 


W.  A.  Wright.  —  301-304.  Staunton  suggested,  and  Dyce,  adding  stage 
directions,  adopted  the  reading  which  we  give,  and  which  Furness  pro- 
nounces *  admirable.'  —  303.  drawn.  Abbott,  374.  Repeatedly  in  Shaken. 
applied  to  persons  who  have  drawn.  —  314.  shak'd.  Five  times  in  Shakes. 
for  shook.  Abbott,  343. — 316.  that's  verily.  So  'that's  worthily,' 
Coriol.f  IV,  i,  53.  Pope  changed  verily  to  '  verity.'  Abbott,  78.  —  best  we 
stand.     So  Milton's  Comus,  487. 

In  this  scene,  why  is  prose  used  in  banter  or  mockery,  but  metre  in  ut- 
terances of  grief  or  sorrow?  Do  dignity  and  emotion  find  better  expres- 
sion in  blank  verse  than  in  prose?  Does  humor?  —  Do  Antonio  and 
Gonzalo  use  mockery  or  scorn  in  order  to  rid  themselves  of  uneasy  feelings 
of  inferiority  ?  —  Compare  the  plot  to  murder  Alonso  with  that  in  Macbeth 
to  murder  Duncan.  Note  in  each  Shakespeare's  '  manner  of  familiarizing 
a  mind  to  the  suggestion  of  guilt.' 


SCENE  II.]  THE   TEMPEST.  73 


Scene  II.     Another  Part  of  the  Island, 

Enter  Caliban,  with  a  burthen  of  wood.    A  noise  of  thunder 

heard. 

Caliban.   All  the  infections  that  the  sun  sucks  up 
From  bogs,  fens,  flats,  on  Prosper  fall,  and  make  him 
By  inch-meal  a  disease !     His  spirits  hear  me. 
And  yet  I  needs  must  curse.     But  they'll  nor  pinch, 
Fright  me  with  urchin-shows,  pitch  me  i'  the  mire, 
Nor  lead  me,  like  a  firebrand,  in  the  dark 
Out  of  my  way,  unless  he  bid  'em :  but 
For  every  trifle  they  are  set  upon  me ; 
Sometime  like  apes,  that  mow  and  chatter  at  me, 
And  after  bite  me ;  then  like  hedgehogs,  which  10 

Lie  tumbling  in  my  barefoot  way,  and  mount 
Their  pricks  at  my  footfall ;  sometime  am  I 
All  wound  with  adders,  who  with  cloven  tongues 
Do  hiss  me  into  madness.  — 

Enter  Trinculo. 

Lo,  now,  lo ! 
Here  comes  a  spirit  of  his,  and  to  torment  me 
For  bringing  wood  in  slowly.     I'll  fall  flat ; 
Perchance  he  will  not  mind  me.  17 

Trinculo.  Here's  neither  bush  nor  shrub,  to  bear  off  any 
weather  at  all,  and  another  storm  brewing ;  I  hear  it  sing  i' 

Scene  II.  1.  sun  sucks  up.  Any  trace  here  of  a  superstition  or 
fancy  among  the  ignorant  that  **  the  sun  is  drawing  water,"  when  his 
slant  rays  seem  to  stream  through  the  clouds?  —  3.  mch-meal.  A.  S. 
mael,  piece,  share,  portion;  dative  case,  maelum,  in  pieces,  separately. 
So  '  limb-meal,'  Cymbeline,  II,  iv,  140.  We  use  *  piecemeal.'  *'  Twice  I  was 
shot  all  into  inch  pieces."  Serg't  Eeed.  —  5.  urchin-shows.  Note,  I,  ii, 
325;  our  ed.  of  Comus,  line  845.  —  6.  firebrand  =  ignis  fatuusf  See  on 
Splayed  the  Jack,'  IV,  i,  198. —  9.  mow.  See  stage  direction.  III,  iii,  82; 
IV,  i,  47. — Fr.  moue,  a  pouting  face;  fr.  O.  Du.  mouwe,  the  protruded 
under  lip.  Bracket,  Skeat.  — 10.  after.  So  III,  ii,  144. — 11.  mount. 
'The  fire  that  mounts  the  liquor,'  Henry  VIII,  I,  i,  144;  id.  I,  ii,  205.— 
Had  Shakes,  been  reading  Harsnet's  Declaration  (1603),  "They  (young 
girls  supposed  bewitched)  make  anticke  faces,  grin,  mow,  and  mope  like  an 
ape,  tumble  like  a  hedge-hogge,"  etc. — 13.  w^ound  =  wounded  ?  enwrapped 
(by  adders  *  wound  '  or  twisted  about  me)  [Johnson]  ?  —  cloven.  Mach., 
IV,  i,  16;  Mid.  N.  Dr.,  II,  iii,  9. — 15.  and  =  and  comes?  and  that  too 
[Abbott,  95,  96]  ?  — 19.  at  all.    Does  '  at  all '  modify  shrub  ?  bear  of?  or 


74  THE  TEMPEST,  [ACT  II. 

the  wind.  Yond  same  black  cloud,  yond  huge  one,  looks 
like  a  foul  bombard  that  would  shed  his  liquor.  If  it 
should  thunder  as  it  did  before,  I  know  not  where  to  hide 
my  head ;  yond  same  cloud  cannot  choose  but  fall  by  pail- 
fuls.  —  What  have  we  here?  a  man  or  a  fish?  dead  or 
alive  ?  A  fish :  he  smells  like  a  fish ;  a  very  ancient  and 
fishlike  smell ;  a  kind  of,  not  of  the  newest,  poor-john.  A 
strange  fish !  Were  I  in  England  now,  as  once  I  was,  and 
had  but  this  fish  painted,  not  a  holiday  fool  there  but  would 
give  a  piece  of  silver:  there  would  this  monster  make  ;i 
man;  any  strange  beast  there  makes  a  man.  When  the} 
will  not  give  a  doit  to  relieve  a  lame  beggar,  they  will  lay- 
out ten  to  see  a  dead  Indian.  Legged  like  a  man !  and  his 
fins  like  arms !  Warm,  o'  my  troth  !  I  do  now  let  loose  my 
opinion,  hold  it  no  longer ;  this  is  no  fish,  but  an  islander, 
that  hath  lately   suffered  by   a  thunderbolt.     [Thunder.'] 

weather?  —  20.  yond.  The  Teutonic  type  is  yena,  extended  from  Aryan 
base  YA,  that,  Skeat.  See  on  I,  ii,  408.  — 21.  f oul  =  unfair,  vile?  full? 
black  with  age  and  decayed  —  ready  to  fall  to  pieces  [Rolfe]  ?  Tyrwliitt 
surmised  that  *foul'  was  by  rustics  pronounced  like  'full.*  Upton  and 
Jervis  would  read  '  full.*  Furness  suggests  that  **  the  force  of  *  foule,'  as 
in  the  text,  is  not  at  once  apparent.*'  But  is  it  not  just  like  'scurvy' 
before  *tune,'  line  41?  —  Lear,  III,  ii,  24.  —  bombard.  *A  cannon  or 
great  gun,  and  jocularly  a  large  drinking  vessel.'  Skeat.  'A  very  large 
leathern  drinking  vessel.'  Halliwell.  So  a  soldier  calls  his  whiskey  tiask 
a '  pocket  pistol ' !  Hal  terms  Falstaff  a '  huge  bombard  of  sack,'  1  Henry  IV, 
II,  iv,  16.  — 2().  newest  =  freshest?  — poor-john  =  salt  dry  hake,  a  tish 
resembling  the  cod,  but  inferior;  called  hake,  iv.  Norweg.  hake,  hook, 
from  its  hook-shaped  under-jaw.  *'  I  know  not  how  it  has  happened  that 
in  the  principal  modern  languages,  John,  or  its  equivalent,  is  a  name  of 
contempt,  or  at  least  of  slight,"  says  Tyriohitt.  Perhaps  because  tlie  name 
was  so  common  among  the  lower  classes,  and  the  average  specimen  of 
plebeian  humanity  was  so  poorly  equipped?  See  John  Bull,  Johnny  Cra- 
paud,  Mongolian  Johnnie;  John-a-dreams,  Hamlet,  II,  ii,  55;  IV,  i,  197; 
.fack-o'-lantern,  Jack  Ketch,  Jack-a-napes,  jackstraw,  jackass.  —  2(5.  Eng- 
land. Shakes,  dearly  loves  to  satirize  good-naturedly  his  countrymen's 
foibles.  Othello,  II,  iii,  65-68;  Mer.  of  Ven.,  I,  ii,  5«-(>6.— 29.  make  a 
man.  Emphasis  on  7nake  ?  Is  the  phrase  still  used  ?  Foresaw  Barnuni  ? 
—  30.  doit.  Dutch  duit,  a  copper  coin,  half  farthing,  eighth  of  a  stiver? 
Perhaps  Fr.  d'huit,  of  eight,  Lat.  octo,  eighth  of  a  penny?  Or  Icel.  thveit, 
a  piece  cut  off  (So  Wb.  hit.  Diet.)  ?  Or  allied  to  dot  ?  —  Our  Mer.  of  Ven., 
I,  iii,  130.  — 31.  dead  Indian.  Sir  Martin  Frobisher  twice  brought  Indians 
to  England,  two  of  wliom  died  there.  The  last  time  was  in  1577,  when  he 
brought  a  man,  a  woman,  and  a  child.  "The  captayne  retayned  two  of 
these  [Patagonian  giants],  which  were  youngest  and  best  made."  Eden's 
Travels,  1577.  "  They  seem  to  have  been  sometimes  exhibited  e!nbalmed, 
or  even  manufactured  at  home,  as  we  see  in  line  61  [53],  'Do  vou  put 
tricks  upon's  with  savages  and  men  of  Ind  ?  '  "  Fhillpotts.  —  See  Purness. 
»—  33.  let  loose  =  abandon  ?  allow  to  be  uttered  ?  —  hold  =  entertain  ? 
cling  to?  kecD  it  back  from  being  spoken  ?  —  34.  suffered  =  experienced 


SCENE  II.]  THE   TEMPEST,  75 

Alas,  the  storm  is  come  again !  my  best  way  is  to  creep 
under  his  gaberdine;  there  is  no  other  shelter  hereabout. 
Misery  acquaints  a  man  with  strange  bedfellows.  I  will 
here  shroud  till  the  dregs  of  the  storm  be  past. 

Enter  Stephano,  singing :  a  bottle  in  his  hand. 

Stephano.        /  shall  no  more  to  sea,  to  sea, 

Here  shall  I  die  ashore,  — ••  40 

This  is  a  very  scurvy  tune  to  sing  at  a  man^s  funeral.  Well, 
here's  my  comfort.  [^Drinks. 

[Sings]    The  master,  the  swabber,  the  boatswain,  and  I, 
The  gunner,  and  his  mate, 
Lov^d  Mall,  Meg,  and  Manan,  and  Margery, 
But  none  of  us  car'd  for  Kate  ; 
For  she  had  a  tongue  ivith  a  tang. 
Would  cry  to  a  sailor.  Go  hang  ! 
She  loved  not  the  savor  of  tar  nor  of  pitch. 
Then,  to  sea,  boys,  and  let  her  go  hang  ! 

This  is  a  scurvy  tune  too ;  but  here's  my  comfort.  [^Drinks. 
Caliban.   Do  not  torment  me  !  —  0  !  51 

Stephano.   What's  the  matter  ?      Have  we  devils  here  ? 

Do  you  put  tricks  upon's  with  savages  and  men  of  Ind,  ha  ? 

I  have  not  scaped  drowning  to  be  afeard  now  of  your  four 

legs ;  for  it  hath  been  said,  as  proper  a  man  as  ever  went  on 


suiferiug?  suffered  death  [Wright,  Deighton]  ?  See  'suffered'  in  the 
Creeds  in  the  Book  of  Common  Prayer.  — 36.  gaberdine.  Span,  gahar- 
ilina,  a  coarse  frock;  gahan,  a  great  coat.  Mer.  of  Ven.,  I,  iii,  102. — 
38.  shroud.  A.  S.  scrud,  garment.  Milton  uses  the  word  as  a  verb  for 
find  shelter  or  take  shelter,  in  Cojuks,  316.  —  dregs.  Refers  to  the  liquor 
of  the  '  bombard  '  .  .  .  the  very  last  drop  of  the  storm  [Furness]  ?  Is  the 
newly  arrived  storm  the  dregs  of  the  former  ? 

41.  scurvy.  From  the  lack  of  anti-scorbutics,  the  word  occurs  to  sea- 
men more  than  to  others?  —  43.  swabber  =  deck-mopper  or  scrubber. 
Du.  zwabher,  the  drudge  of  a  ship;  Swed.  svab,  a  fire-brush;  allied  to 
swap,  to  strike,  and  to  sweep.  Skeat.  —  ^l.  tang  =  sharp  biting  speech? 
high  shrill  tone  [Meiklejohn]  ?  twang,  unpleasant  tone  [Wright]  ?  —  Imita- 
tive word,  akin  to  tinkle,  tingle,  and  perhaps  to  twang.  Skeat.  —  48.  Yet  a 
tailor  might  scratch  her.  We  should  expect  sailor.  —  where  ere  slie 
did  itch.  So  the  folio.  — 53.  Ind.  So  Par.  Lost,  ii,  2,  and  three  times  in 
Shakes.  See  on  line  31.  —  you  and  yours  in  Stephano's  drunken  solilo- 
quy are  colloquial  ?  addressed  to  some  imaginary  person  ?  Abbott,  221 .  — 
54.  scaped.  Fr.  e'chapper,  to  escape.  See  our  Mer.  of  Ven.,  Ill,  ii,  2(55. 
—  55.  proper.     Hebrews,  xi,  23;  our  Mer.  of  Ven.,  1,  ii,  02;  Jul.  Csds., 


76  THE  TEMPEST,  [act  li. 

four  legs  cannot  make  him  give  ground ;  and  it  shall  be  said 
so  again,  while  Stephano  breathes  at  nostrils. 

Caliban.    The  spirit  torments  me  !  —  0  !  58 

Stephano.  This  is  some  monster  of  the  isle  with  four  legs, 
who  had  got,  as  I  take  it,  an  ague.  Where  the  devil  should 
he  learn  our  language  ?  I  will  give  him  some  relief,  if  it  be 
but  for  that.  If  I  can  recover  him,  and  keep  him  tame,  and 
get  to  Naples  with  him,  he's  a  present  for  any  emperor  that 
ever  trod  on  neat^s-leather. 

Caliban.  Do  not  torment  me,  prithee ;  I'll  bring  my  wood 
home  faster. 

Stephano.  He's  iTy  his  fit  now,  and  does  not  talk  after 
the  wisest.  He  shall  taste  of  my  bottle;  if  he  have  never 
drunk  wine  afore,  it  will  go  near  to  remove  his  fit.  If  I 
can  recover  him  and  keep  him  tame,  I  will  not  take  too 
much  for  him ;  he  shall  pay  for  him  that  hath  him,  and  that 
soundly.  71 

Caliban.  Thou  dost  me  yet  but  little  hurt ;  thou  wilt  anon, 
I  know  it  by  thy  trembling :  now  Prosper  works  upon  thee. 

Stephano.  Come  on  your  ways ;  open  your  mouth ;  here 
is  that  which  will  give  language  to  you,  cat.  Open  your 
mouth;  this  will  shake  your  shaking,  I  can  tell  you,  and 
that  soundly :  you  cannot  tell  who's  your  friend ;  open  your 
chaps  again. 

Trinculo.  I  should  know  that  voice :  it  should  be  —  but 
he  is  drowned ;  and  these  are  devils !  —  0,  defend  me !        80 

Stephano.  Four  legs  and  two  voices  !  a  most  delicate  mon- 
ster !  His  forward  voice,  now,  is  to  speak  well  of  his  friend  ; 
his  backward  voice  is  to  utter  foul  speeches  and  to  detract. 
If  all  the  wine  in  my  bottle  will  recover  him,  I  will  help 

I,  i,  25.  —  60.  the  devil  =  in  the  name  of  the  devil,  I  ask?  the  devil  help 
me?  — 64.  neat's  =  bovine ?  See  our  Jul.  Cms.,  I,  i,  26;  Win.  Tale, 
I,  ii,  124,  125.  — 69.  afore,  like  '  afeard  '  in  line  54,  is  repeatedly  found  in 
Shakes.  Note  the  scientitic  knowledge  implied  in  this  "  if  he  have  never," 
etc.  —  recover.  Jul.  Cxs.,  I,  i,  24.  —70.  too  much,  etc.  =  no  price  will 
be  too  much  [Malone]  ?  I  will  not  set  a  great  price  [too  much]  on  him 
[spoken  ironically]  ?  —  1'^.  trembling.  Sign  of  denu)niac  *  possession  ' 
or  supernatural  influence?  See  Comedy  of  Errors,  IV,  iv,  49,  "Mark  how 
he  trembles  in  his  ecstasy."  In  Harsnet's  (1603)  Declaration,  "  All  the 
spirits  with  much  ado  being  commanded  to  go  down  into  her  left  foot, 
they  did  it  w^ith  vehement  trembling  "  ;  quoted  by  Furness.  —  75.  cat,  etc 
"  Alluding  to  the  old  proverb  that  '  good  liquor  will  make  a  cat  speak.' 
Steevens.  Any  resemblance  to  a  catfish  implied?  —  76.  shake  your 
shaking  =  break  up  your  ague?  — 77.  chaps  (from  chops?)  Skt.  kaf, 
jaw;  A.S.  cea/(,  the  jowl.    Akin  to  'chew.'  — 81.  delicate.    He  has  hi» 


SCENE  II.]  THE    TEMPEST.  11 

his  ague.     Come.  —  Amen !     I  will  pour  some  in  thy  other 
mouth. 

Trinculo.    Stephano. 

Stephano.  Doth  thy  other  mouth  call  me  ?  Mercy,  mercy ! 
This  is  a  devil,  and  no  monster :  I  will  leave  him  ;  I  have  no 
long  spoon. 

Trinculo.  Stephano  !  If  thou  beest  Stephano,  touch  me, 
and  speak  to  me ;  for  I  am  Trinculo,  —  be  not  af card,  —  thy 
good  friend  Trinculo.  92 

Stephano.  If  thou. beest  Trinculo,  come  forth:  I'll  pull 
thee  by  the  lesser  legs ;  if  any  be  Trinculo's  legs,  these  are 
they.  Thou  art  very  Trinculo  indeed !  How  camest  thou 
to  be  the  siege  of  this  moon-calf  ?     Can  he  vent  Trinculos  ? 

Trinculo.  I  took  him  to  be  killed  with  a  thunder-stroke. 
—  But  art  thou  not  drowned,  Stephano  ?  I  hope,  now,  thou 
art  not  drowned.  Is  the  storm  overblown  ?  I  hid  me  under 
the  dead  moon-calf's  gaberdine  for  fear  of  the  storm.  And 
art  thou  living,  Stephano?  0  Stephano,  two  Neapolitans 
scaped  ?  102 

Stex)hano.  Prithee,  do  not  turn  me  about ;  my  stomach  is 
not  constant. 

Caliban.   These  be  fine  things,  an  if  they  be  not  sprites. 
That's  a  brave  god,  and  bears  celestial  liquor ; 
I  will  kneel  to  him. 

Stephano.  How  didst  thou  scape  ?  How  camest  thou  hith- 
er ?  swear,  by  this  bottle,  how  thou  camest  hither.  I  escaped 
upon  a  butt  of  sack,  which  the  sailors  heaved  o'erboard,  by 
this  bottle  !  —  which  I  made  of  the  bark  of  a  tree  with  mine 
own  hands,  since  I  was  cast  ashore.  112 


little  grim  joke.  — 85.  Amen  =  stop  drinking!  [Steevens,  Wright,  Deigh- 
ton]  ?  Stephano  is  frightened  and  put  to  his  religion,  and  '  Amen  '  is  the 
best  he  can  do  towards  praying  [Hudson]?  a  benediction  [Capell]  ?  — 
89.  long  spoon.  ''The  Vice  was  made  to  associate  with  the  Devil  in  the 
ancient  Moralities  [Morality  plays],  in  which  it  was  a  piece  of  humor  to 
make  the  Devil  and  Vice  feed  of  the  same  custard  or  some  such  dish,  the 
Devil  on  one  side  and  the  Vice  on  the  other,  with  a  spoon  of  vast  length." 
Capell.  **He  must  have  a  long  spoon  that  eats  with  the  devil,"  Com.  of 
Er.,  IV,  iii,  58,  59.  — 95.  very  Trinculo.  Lat.  verus,  true.  —96.  siege  = 
seat ;  stool.  So  in  Meas.for  M.,  IV,  ii,  93.  Lat.  sedes,  Fr.  siege,  a  seat. — 
moon-calf  =  monstrosity,  abortion,  lifeless  lump.  — 105.  an  if.  An  or 
and  =  if.  "  'And  if  occurs  on  the  same  principle  probably  as  *  most  un- 
kiudest.'  "  Furness.  Abbott,  103.  For  emphasis,  like  '  verily,  verily '  ? 
—  sprites,  I,  ii,  378. —  109.  by  this  bottle.  Swear  by  what  was  most 
sacred?  — 110.  butt  =  cask  of  126  gals.?  —  sack.  Gr.  o-aK/co?,  Lat.  saccus, 
A.S.  sack,  a  bag?  a  wine-skin?    Better  fr.  Lat.  siccus,  Span,  seco,  Fr.  seCt 


78  THE   TEMPEST,  [act  It 

Caliban.  I'll  swear,  upon  that  bottle,  to  be  thy  true  subject ; 
For  the  liquor  is  not  earthly. 

Stephano.   Here ;  swear,  then,  how  thou  escapedst. 

Trinculo.  Swam  ashore,  man,  like  a  duck ;  I  can  swim 
like  a  duck,  I'll  be  sworn. 

Stephano.  Here,  kiss  the  book.  Though  thou  canst  swim 
like  a  duck,  thou  art  made  like  a  goose. 

Trinculo.    0  Stephano,  hast  any  more  of  this  ?  120 

Stephano.  The  whole  butt,  man ;  my  cellar  is  in  a  rock  by 
the  sea-side,  where  my  wine  is  hid.  —  How  now,  moon-calf  I 
how  does  thine  ague  ? 

Caliban.    Hast  thou  not  dropped  from  heaven  ? 

Stephano.  Out  o'  the  moon,  I  do  assure  thee ;  I  was  the 
man  i'  the  moon  when  time  was. 

Caliban.    I  have  seen  thee  in  her,  and  I  do  adore  thee ; 
My  mistress  show'd  me  thee,  and  thy  dog,  and  thy  bush. 

Stephano.  Come,  swear  to  that ;  kiss  the  book :  I  will 
furnish  it  anon  with  new  contents  ;  swear.  130 

Trinculo.  By  this  good  light,  this  is  a  very  shallow  mon- 
ster !  —  I  af card  of  him  !  —  A  very  weak  monster  !  —  The 
man  i'  the  moon!  —  A  most  poor  credulous  monster!  — 
Well  drawn,  monster,  in  good  sooth ! 

Caliban.   I'll  show  thee  every  fertile  inch  o'  the  island ; 
And  I  will  kiss  thy  foot.     I  prithee,  be  my  god. 

Trinculo.  By  this  light,  a  most  perfidious  and  drunken 
monster !     When's  god's  asleep,  he'll  rob  his  bottle. 

Caliban.    I  '11  kiss  thy  foot ;  I'll  swear  myself  thy  subject. 

Stephano.    Come  on,  then ;  down,  and  swear.  140 

Trinculo.  I  shall  laugh  myself  to  death  at  this  puppy- 
headed  monster.  A  most  scurvy  monster !  I  could  find  in 
mv  heart  to  beat  him  — 


dry;  E.  Eng.  seek,  a  'dry  wine/  vin  sec?  sherry?  Canary  wine  or  white 
wines  of  Spain?  See  Furness.  —  \\^.  the  book  =  the  Bible?  here  the 
bottle?  — 119.  goose.  Origin  of  the  disparagement  in  bird  names,  as 
gull,  loon,  booby,  etc.?  Our  Macb.,  V,  iii,  11.  — 126.  man  in  the  moon. 
See  II,  i,  144.  They  fancied  they  saw  in  the  moon  the  shape  of  a  man,  a 
lantern,  and  a  bush;  that  the  bush  was  the  bundle  of  sticks  (in  Numbers, 
XV,  32,  33) ;  the  man,  Cain  ;  the  dog,  '  the  foul  fiend.'  Some  said  that  the 
bush  represented  the  thorns  and  thistles  that  sprang  up  after  'the  fall'! 
See  in  our  Mid.  N.  Z>.,  note  on  III,  i,  52;  also  M.  N.  J).,  V,  i,  237.— 
133.  well  drawn  =  a  'good  pull'  at  the  bottle? — 138.  rob  =  steal 
[Allen,  Schmidt,  Deighton]  ?  steal  from  [Wright]  ?—  141.  puppy-headed. 
So  we  sometimes  hear  'pig-headed,'  'bull-headed,'  etc.  — 143.  beat 
him—  The  sentence  is  interrupted  by  Stephauo's  "Come,  kiss,"  and 


SCENE  II.]  THE  TEMPEST,  79 

Stephano.   Come,  kiss. 

Trinculo.  But  that  the  poor  monster's  in  drink.  An 
abominable  monster ! 

Caliban,   I'll  show  thee  the  best  springs ;  I'll  pluck  thee 
berries ; 
I'll  fish  for  thee,  and  get  thee  wood  enough. 
A  plague  upon  the  tyrant  that  I  serve ! 
I'll  bear  him  no  more  sticks,  but  follow  thee,  150 

Thou  wondrous  man. 

Trinculo.  A  most  ridiculous  monster,  to  make  a  wonder 
of  a  poor  drunkard ! 

Caliban.    I  prithee,  let  me  bring  thee  where  crabs  grow; 
And  I  with  my  long  nail's  will  dig  thee  pig-nuts. 
Show  thee  a  jay's  nest,  and  instruct  thee  how 
To  snare  the  nimble  marmoset.     I'll  bring  thee 
To  clustering  filberts ;  and  sometimes  I'll  get  thee 
Young  scamels  from  the  rock.     Wilt  thou  go  with  me  ? 

Stephano.  I  prithee  now,  lead  the  way  without  any  more 
talking.  —  Trinculo,  the  king  and  all  our  company  else  being 
drowned,  we  will  inherit  here.  —  Here,  bear  my  bottle.  — 
Fellow  Trinculo,  we'll  fill  him  by  and  by  again.  163 

then  is  resumed  by  Trinculo's  adding  **  but  that  the  poor,"  etc.  — 144. 
kiss.  What?  bottle?  foot?  — 154.  crabs?  SmaU  sour  apples?  shell- 
fish ?  — 155.  pig-nuts  =  ground-nuts  such  as  pigs  root  up  ?  the  round 
brown  nut  (bunium  flexuosiim)  white  inside  and  of  a  pleasant  nutty 
flavor  [Grindon's  Shakes.  Flora]"^  peanuts?  — 157.  marmoset  =  little 
American  monkey?  Lat.  minimus,  very  small;  O.  Fr.  merme,  tiny; 
marmotj  puppet,  ape.  Wore.  Bracket,  following  Littr4,  derives  it  from 
marmoretum,  a  little  marble  figure,  fr.  marmor,  marble.  The  Rue  des  Mar- 
mousets  in  Paris  was  in  Mediaev.  Latin  Vicus  Marmoretorum.  —  Sir  John 
Mandeville  and  other  English  writers  mention  the  animal. — 159.  scamels. 
This  word  has  been  a  standing  puzzle.  Among  the  proposed  emendations 
are  shamois  (or  chamois),  sea-malls,  sea-mells,  sea-gulls,  sea-mews,  stan- 
nels,  scamps,  samols,  samphire,  squirrels,  seegells,  staniels,  scalions,  sar- 
cels,  stamels,  scamhles,  limpets,  muscles,  conies,  chamals,  sea-owls! 
"The  female  Bar-tailed  Godwit  is  called  a  *  scam  el'  by  the  gunners  of 
Blakeney.  But  .  .  .  this  bird  is  not  a  rock-breeder."  Stevenson's  Birds 
of  Norfolk,  quoted  by  Wright. — The  average  scholar,  in  the  midst  of 
these  perplexities,  may  well  adopt  the  modest  attitude  of  Furness,  who 
says:  **For  my  part  I  unblushingly  confess  that  I  do  not  know  what 
'  scamels '  are,  and  that  I  prefer  to  retain  the  word  in  the  text  and  to 
remain  in  utter,  invincible  ignorance.  From  the  very  beginning  of  the 
play  we  know  that  the  scene  lies  in  an  enchanted  island.  Is  this  to  be  for- 
gotten ?  Since  the  air  is  full  of  sweet  sounds,  why  may  not  the  rocks  be 
inhabited  by  unknown  birds  of  gay  plumage  or  by  vague  animals  of  a 
grateful  and  appetising  plumpness?  Let  the  picture  remain,  of  the  dash- 
ing rocks,  the  stealthy,  freckled  whelp,  and  in  the  clutch  of  his  long  nails, 
a  young  and  tender  scamel."  Preface  to  VaHorum  Ed.  of  The  Tempest, 
p.  viii.  — 162.  inherit  =  take  possession?  occupy?    Often  used  for  *pos- 


80  Tim    TEMPEST.  [act  II.  SCENE  II. 

Caliban.    [Sings  drunkenly']  Farewell,  master;   farewell, 

farewell ! 
Trinculo.   A  howling  monster ;  a  drunken  monster ! 

Caliban.   N^o  more  dams  Pll  make  for  fish; 
Nor  fetch  in  firing 
At  requiring  ; 
Nor  scrape  trenchering,  nor  wash  dish . 

^Ban,  ^Ban,  Corcalihan  170 

Has  a  new  master :  —  get  a  new  man. 

Freedom,  high-day !  high-day,  freedom !  freedom,  high-day, 
freedom ! 
Stephano.   O  brave  monster !     Lead  the  way.        [^Exeunt, 

sess'  in  S.,  IV,  i,  154.  — 167.  trenchering.  Pope  and  nearly  all  subse- 
quent editors  have  changed  this  to  *  trencher,'  to  improve  the  poetry.  But 
Caliban,  drunk,  was  not  an  artist  in  verse!  White  objects  to  the  curtail- 
ment on  the  ground,  also,  that  *'  there  is  a  drunken  swing  in  the  original 
line  which  is  entirely  lost  in  the  precise  curtailed  rhythm." — 172.  high- 
day  1  So  the  folios.  All  the  editors  needlessly  change  this  to  hey-day, 
which  is  probably  a  corrupted  form.  *  High  day  '  is  found  in  Mer.  of  Ven., 
II,  ix,  97;  also  in  Joh?i,  xix,  31,  "That  sabbath  day  was  an  high  day." 
It  makes  as  good  sense  as  hey-day?  Why  change  it?  —  *  Hey-day'  is  in 
Hamlet,  II,  iv,  69.  In  Merry  Wives,  III,  ii,  58,  59,  we  read,  '*  he  speaks 
holiday."  --171.  get  =  become,  or  will  become  [Furness]  ?  get  thou  (to 
Prospero)   [Capell,  Steevens]  ? 

"  Notice  how  a  few  bold  strokes  in  this  scene  suffice  to  sketch  the  vices 
of  a  low  civilization  .  .  What  a  strange  harmony  there  is  between  Cal- 
iban and  the  nature  which  surrounds  him,  and  of  which  he  is  in  some 
sense  a  part ;  whence  a  kind  of  grace,  which  places  him  as  much  above 
the  drunken  and  graceless  European  as  he  is  below  Prospero  and  Miranda! 
Remark  in  Act  III,  iii,  130,  how  mucn  more  sensitive  he  is  than  they  to 
sweetness  of  sound!"    Phillpotts. 

Caliban  is  in  some  respects  a  noble  being ;  the  poet  has  raised  him  far 
above  contempt ;  he  is  a  man  in  the  sense  of  the  imagination ;  all  the 
images  he  uses  are  drawn  from  Nature  and  are  highly  poetical ;  they  fit 
in  with  the  images  of  Ariel.  Caliban  gives  us  images  from  the  earth, 
Ariel  from  the  air.  Caliban  talks  of  the  difficulty  of  finding  fresh  water, 
of  the  situation  of  morasses,  and  of  other  circumstances  which  even  brute 
instinct,  without  reason,  could  comprehend.  No  mean  figure  is  employed, 
no  mean  passion  displayed,  beyond  animal  passion  and  repugnance  to 
command.    Coleridge's  Seven  Lectures,  1818. 


ACT  III.  SCENE  I.]  THE   TEMPEST,  81 


ACT  III. 
Scene  I.    Before  Prosperous  Celt 

Enter  Ferdinand,  hearing  a  log. 

Ferdinand,   There  be  some  sports  are  painful,  and  their 
labor 
Delight  in  them  sets  off ;  some  kinds  of  baseness 
Are  nobly  undergone,  and  most  poor  matters 
Point  to  rich  ends.     This  my  mean  task 
Would  be  as  heavy  to  me  as  odious,  but 
The  mistress  which  I  serve  quickens  what's  dead, 
And  makes  my  labors  pleasures.     0,  she  is 
Ten  times  more  gentle  than  her  father's  crabbed. 
And  he's  compos'd  of  harshness  !     I  must  remove 
Some  thousands  of  these  logs,  and  pile  them  up,  10 

Upon  a  sore  injunction.     My  sweet  mistress 
Weeps  when  she  sees  me  work,  and  says  such  baseness 
Had  never  like  executor.     I  forget ; 
But  these  sweet  thoughts  do  even  refresh  my  labors, 
Most  busy,  least,  when  I  do  it. 

ACT  III.  Scene  I.  1.  there  be.  Use  of  *  be  '  determined  by  euphony 
[Furness]  ?  Abbott,  300.  — painful  =  causing  pain?  full  of  pains,  i.e. 
painstaking  ?  requiring  the  player  to  take  pains  or  employ  labor.  [Phila. 
Sh.  jSoc]  ?  —  **  Oh,  the  holiness  of  their  living  and  the  painfulness  of  their 
preaching!"  Fuller's  Hohj  State,  ii,  6.  —  2.  sets.  The  folio  has  set. 
Rowe  made  the  change  which  all  subsequent  editors  have  adopted,  sets 
off  =  compensates  ?  oif sets  ?  Subject  nom.  of  sets  f  Malone  quotes  "  The 
labor  we  delight  in  physics  pain,"  Macb.,  II,  iii,  31.  —  baseness  =  vile- 
ness?  humbleness?  —  3.  most  poor  =  poorest ?  a  majority  of  poor?  — 
4.  point  =  have  a  view?  tend?  are  directed?  —  6.  which.  Inter- 
changeable with  who?  Abbott,  265. — 9.  compos'd.  Emphatic  here? — 
13.  Scan.  Should  'never'  be  shortened  to  'ne'er'?  'executor'  ace.  on  3d 
syl.?— forget.  What?  — 15.  most  busy,  least,  when  I  do  it.  The 
1st  folio  has  lest;  the  others,  least.  "Compositors,  we  know,  were  apt 
to  spell  phonetically,  accordingly  we  find  them  spelling  least,  lest,  which 
is  a  pretty  good  guide  to  the  pronunciation  of  the  word."  Furness,  in 
footnote  in  his  Var.  Ed.  of  Mid.  N.  Dr.,  p.  225.  —  ''This  passage  has  re- 
ceived a  greater  number  of  emendations,  and  staggers  under  a  heavier 
weight  of  comment  than,  I  believe,  any  other  in  Shakespeare."    Furness, 


82  THE   TEMPEST.  [ACT  III. 


Enter  Miranda,  and  Prospero  at  a  distance. 

Miranda.  Alas !  now,  pray  you. 

Work  not  so  hard ;  I  would  the  lightning  had 
Burnt  up  those  logs  that  you  are  enjoin'd  to  pile  ! 
Pray,  set  it  down,  and  rest  you ;  when  this  burns, 
Twill  weep  for  having  wearied  you.     My  father 
Is  hard  at  study ;  pray,  now,  rest  yourself ;  20 

He's  safe  for  these  three  hours. 

Ferdinand.  0  most  dear  mistress, 

The  sun  will  set  before  I  shall  discharge 
What  I  must  strive  to  do. 

Miranda.  If  you'll  sit  down, 

I'll  bear  your  logs  the  while.     Pray,  give  me  that ; 
I'll  carry  it  to  the  pile. 

Ferdinand.  No,  precious  creature ; 

I  had  rather  crack  my  sinews,  break  my  back, 
Than  you  should  such  dishonor  undergo. 
While  I  sit  lazy  by. 


See  the  twelve  solid  pages,  144-156,  in  his  Var.  Ed.  In  the  magazine 
Shakespeariana,  N.Y.,  March,  1884,  the  present  editor  suggested  what  he 
believes  to  be  the  true  interpretation.  It  is  in  the  main  quoted  by  Fur- 
ness,  page  154,  Var.  Ed.  **  Punctuate  thus:  Most  busy,  least,  when  I  do 
it.  Interpret  thus:  Most  busy  least  busy  (i.e.  least  conscious  of  being 
busy)  when  I  do  this  work."  In  other  words,  when  I  think  of  Miranda 
and  her  love,  toil  is  even  restful.  I  forget  the  toil  for  the  time,  but  her 
love  turns  the  toil  to  refreshment,  to  pleasure.  No  change  in  the  text  is 
necessary.  The  line  is  the  exact  converse  of  Macbeth's  "  The  rest  is  labor 
that  is  not  used  for  you,"  Macb.,  I,  iv,  44.  With  Macbeth  repose  is  labor; 
with  Ferdinand,  labor  is  repose!  —  'When  I  do  it '  may  mean,  'When  I 
forget';  i.e.  'When  I  am  oblivious  of  all  but  Miranda.'  We  may  add 
that  A.S.  hysgian  often  means  to  fatigue.  See  note  on  line  16.  —  Furness, 
after  wading  through  the  tremendous  pages  of  comment,  which  he  has 
skilfully  condensed  into  twelve,  gives  his  own  interpretation  as  follows : 
"Ferdinand  has  been  neglecting  his  task  to  think  of  Miranda;  then,  recol- 
lecting himself,  says,  in  effect,  I  am  forgetting  my  work  —  but  when  I  do 
thus  forgety  my  mind  so  teems  with  thoughts  that  I  am  really  most  busy 
when  I  seem  to  be  least  busy,  and  by  these  sweet  thoughts  I  am  even  re- 
freshed for  my  work." — Note  the  paradoxes:  in  this  connection,  Phill- 
potts  cites  Sonnet  xxvii.  — 16.  Work  not  so  haiMl.  We  may  perliaps 
suppose  that,  just  before,  absorbed  in  thinking  of  Miranda,  he  had  forgot- 
ten his  task  and  stood  motionless  for  a  minute ;  but  now  had  begun 
it  again  with  renewed  heroic  energy  under  the  inspiration  and  joy  of 
reciprocated  love.  At  this  instant  she  approaches  unseen,  and,  behold- 
ing  his  intense  toil,  she  exclaims  "Alas,  now,  pray  you,  work  not  so 
hard,"  etc. — 19.  weep.  When  green  or  wet  wood  burns,  drops  like 
hot  tears  are  often  forced  out  at  the  end  of  the  log!  Would  Francis 
Bacon  have  so  personified? —21.  safe.    Like  HamleVs  'safely  stowed'.' 


SCENE  I.]  THE   TEMPEST,  83 

Miranda.  It  would  become  me 

As  well  as  it  does  you ;  and  I  should  do  it 
With  much  more  ease,  for  my  good  will  is  to  it,  30 

And  yours  it  is  against. 

Frospero.  Poor  worm,  thou  art  infected ! 

This  visitation  shows  it. 

Miranda.  You  look  wearily. 

Ferdinand.   No,  noble  mistress  ;  'tis  fresh  morning  with 
me 
When  you  are  by  at  night.     I  do  beseech  you,  — 
Chiefly  that  I  might  set  it  in  my  prayers,  — 
What  is  your  name  ? 

Miranda.  Miranda.  —  0  my  father, 

I  have  broken  your  hest  to  say  so ! 

Ferdinand.  Admir'd  Miranda! 

Indeed  the  top  of  admiration,  worth 
What's  dearest  to  the  world !     Full  many  a  lady 
I  have  eyed  with  best  regard,  and  many  a  time  40 

The  harmony  of  their  tongues  hath  into  bondage 
Brought  my  too  diligent  ear.     For  several  virtues 
Have  I  lik'd  several  women,  never  any 
With  so  full  soul  but  some  defect  in  her 
Did  quarrel  with  the  noblest  grace  she  owed, 
And  put  it  to  the  foil  ;  but  you,  0  you, 

Hamlet,  IV,  ii,  1.  — 31.  against.  Abbott,  203.— 32.  wearily.  The  use 
of  an  adverb  for  an  adjective  with  '  look '  is  not  uncommon  in  Shakes. 
See  '  look  merrily'  in  Jul.  Cxs.,  II,  i,  224;  Tivo  Gen.  of  V.,  II,  i,  25;  Mnch 
Ado,  II,  i,  75.-33.  fresh  morning.  Mer.  of  V.,  V,  i,  127,  128;  Sonnet 
xliii. — 35.  set.  Metaphor  from  the  jeweler's  art?  Cymb.,  I,  iii,  34,  35. — 
37.  hest.  I,  ii,  274.  —  38.  top  of  admiration.  Ferdinand  seems  to  under- 
stand Latin;  for  Miranda  =  must  be  admired,  or  must  be  wondered  at. — 
42.  diligent  =  loving?  attentive?  assiduous?  Lat.  di-  or  dis-,  apart, 
leg^re,  to  choose;  diligere,  to  choose  between,  select;  love.  Skeat. — 
several  =  a  few  of  ?  a  number  of  ?  separate  ?  individual  ? — Lat.  se-,  apart ; 
pardre,  to  provide ;  separare,  to  separate.  V,  i,  232 ;  Comus,  25 ;  Nativity 
(>(b\  234. — 45.  O'wed.  I,  ii,  405.  Own  (ow-en)  is  orig.  'possessed.'  — 
4().  put  it  to  the  foil.  =  compel  it  to  stand  on  the  defensive  (metaphor 
from  fencing)  [Hudson]  ?  foiled  or  disparaged  ('  foil '  being  from  *  fouler,' 
to  trample  under  foot)  [Meiklejohn]  ?  as  we  say,  put  her  to  the  blush, 
cause  her  to  blush  [Deighton]?  —  Says  Phillpotts,  "There  is  difficulty  in 
making  out  clearly  the  various  senses  of  the  word  '  foil.'  When  Hamlet 
says,  *  I'll  be  your  foil,  Laertes,'  he  means,  *  I  will  be  like  the  worthless 
leaf  which  sets  off  a  jewel.'  This  first  is  fr.  Fr.  feuille,  I^bX.  folium,  a 
leaf.  The  foil  with  whidi  Hamlet  fights  is,  of  course,  a  blunted  weapon, 
and  with  it  he  hopes  to  '  foil '  Laertes.  We  can,  perhaps,  account  for  both 
these  latter  senses  from  the  O.  Fr.  *De  tes  commandemenz  ne  foliai  (I  did 
not  go  astray  from  thy  commandments) ' ;  whence  also  affoler^  is  said  of 


84  THK   TEMPEST,  [acT  III. 

So  perfect  and  so  peerless,  are  created 
Of  every  creature's  best ! 

Miranda.  I  do  not  know- 

One  of  my  sex,  no  woman's  face  remember, 
Save,  from  my  glass,  mine  own  ;  nor  have  I  seen  50 

More  that  I  may  call  men  than  you,  good  friend, 
And  my  dear  father.     How  features  are  abroad, 
I  am  skilless  of ;  but,  by  my  modesty, 
The  jewel  in  my  dower,  I  would  not  wish 
Any  companion  in  the  world  but  you ! 
Nor  can  imagination  form  a  shape. 
Besides  yourself,  to  like  of !  —  But  I  prattle 
Something  too  wildly,  and  my  father's  precepts 
I  therein  do  forget. 

Ferdinand.  I  am,  in  my  condition, 

A  prince,  Miranda ;  I  do  think,  a  king  ;  —  60 

I  would,  not  so  !  —  and  would  no  more  endure 
This  wooden  slavery  than  to  suffer 
The  flesh-fly  blow  my  mouth.     Hear  my  soul  speak  j 
The  very  instant  that  I  saw  you,  did 

a  compass  needle  which  will  not  point  true ;  so  that  a  *  foil '  is  not  an  un- 
natural name  for  that  which  has  had  its  point  blunted,  and  therefore  can- 
not accurately  point  at  anything.  *  To  foil  a  lance  thrust '  is,  in  the  same 
way,  to  turn  it  aside,  to  make  it  go  astray;  and  the  word  when  gen- 
eralized comes  to  mean  to  'defeat  the  attacks  of  an  adversary.'"  — 
47,  48.  created  of  every  creature's  best.  A  favorite  thought  with 
Shakefspeare.  As  Y.  L.  I.,  Ill,  ii,  157-160;  Winter's  Tale,  V,  i,  14,  15. 
The  reader  will  be  reminded  of  the  composite  masterpiece  of  Apelles  or 
that  of  Zeuxis,  or  the  make-up  of  Pandora.  Steevens  refers  to  Sidney's 
Arcadia,  where  the  beasts,  by  Jupiter's  permission,  made  themselves  a 
king  so  compounded ! 

63.  skilless.  Milton  (Areopagitica,  our  Masterpieces,  pp.  229,  242)  twi( 
uses  skill  as  a  verb.  Icel.  skllja,  to  divide,  distinguish;  skil,  distinction, 
discernment.  Twelfth  iV.,  Ill,  iii,  9.-57.  besides  =  abstractedly  from, 
over  and  above  [Schmidt]  ?  other  tlian?  in  comparison  with?  —  like  of  = 
like ?— Abbott,  177 ;  Much  Ado,  V,  iv,  59.-58.  something  =  some  matter  ? 
somewhat?  in  some  degree?  I,  ii,  413;  Abbott,  (38.  —  ()2.  Avooden  =  per- 
taining to  these  logs?  dull,  stupid ?  *  Wood  '  suggests  poor  material ?  So 
we  say  'blockhead'! — to  suffer.  Supply  'endure'?  Abbott,  350. — 
62.  As  to  the  metre  of  this  line,  Abbott,  478,  and  other  precisians  declare 
that  the  er  final  seems  to  have  been  sometimes  pronounced  with  a  kind  of 
'burr,'  which  produced  the  effect  of  an  additional  syllable!  Abbott  ac- 
cordingly marks  the  line  thus  : 

This  wood  I  en  sld  |  very,  th&n  |  to  siiff  |  Sr. 

This  wooden  slavery  to  supposed  metrical  law  is  dreadful,  and,  out  of  Ire- 
land, where  the  r  has  everything  its  own  way,  incredible.  Better  make 
a  long  pause  after  *  slavery '  ?  — 63.  blow  =  defile,  pollute  [Deighton]  ?  l?y 


SCENE  I.]  THE   TEMPEST.  85 

My  heart  fly  to  your  service ;  there  resides, 
To  make  me  slave  to  it ;  and  for  your  sake 
Am  I  this  patient  logman. 

Miranda.  Do  you  love  me  ? 

Ferdinand.    O  heaven!     O  earth!    bear  witness  to   this 
sound, 
And  crown  what  I  profess  with  kind  event. 
If  I  speak  true ;  if  hollowly,  invert  70 

What  best  is  boded  me  to  mischief  !     I, 
Beyond  all  limit  of  what  else  i'  the  world, 
Do  love,  prize,  honor  you. 

Miranda.  I  am  a  fool 

To  weep  at  what  I  am  glad  of. 

Prospero.  Fair  encounter 

Of  two  most  rare  affections  !     Heavens  rain  grace 
On  that  which  breeds  between  'em  ! 

Ferdinand.  Wherefore  weep  you? 

Miranda.   At  mine  unworthiness,  that  dare  not  offer 
What  I  desire  to  give,  and  much  less  take 
What  I  shall  die  to  want.     But  this  is  trifling; 
And  all  the  more  it  seeks  to  hide  itself,  80 

The  bigger  bulk  it  shows.     Hence,  bashful  cunning  I 
And  prompt  me,  plain  and  holy  innocence ! 
I  am  your  wife,  if  you  will  marry  me ; 
If  not,  I'll  die  your  maid :  to  be  your  fellow 
You  may  deny  me,  but  I'll  be  your  servant,  85 

Whether  you  will  or  no. 

maggot  eggs  upon  [Hudson]?—  Wint.  T.,  IV,  iii,  771.  — 69.  event.  Lat. 
e,  out ;  venire,  ventuniy  to  come.  —  70.  hollowly.  Meas.for  M.,  II,  iii,  23. 
How  came  'hollow'  to  mean  insincere?  —  71.  boded.  A.  S.  bod,  mes- 
sage; bodian,  to  announce.  Is  the  sense  now  uniformly  unfavorable  ?  — 
72.  what  =  whatsoever  [Hudson]?  anything  [Wright]  ?  — 73,  74.  fool, 
etc.  Steevens,  speaking  of  Shakespeare's  preeminent  naturalness,  says,  **  It 
was  necessary  in  support  of  the  character  of  Miranda  to  make  her  appear 
unconscious  that  excess  of  sorrow  and  excess  of  joy  find  alike  their  relief 
in  tears."  3facb.,l,  iv,  33-35.  —  75.  aff ections  =  attachments ?  —  Phill- 
potts  interprets  thus:  '*  What  a  meeting  between  such  tears  and  such  joy! 
May  the  heavens  rain  grace  upon  the  love  which  grows  between  them!  " 
—  Lear,  IV,  iii,  lG-21.  — 78.  what.  Betrothal?  marriage?  —  Capell  says 
it  and  itself  in  line  80  relate  to  what  Miranda's  ''delicacy  does  not  admit 
of  naming,  —  love."  —  84.  your  maid  =  a  maid  for  your  sake  ;  i.e.  living 
unmarried  all  my  life  [Deighton]  ?  maid-servant  [Rolfe,  Meiklejohn]  ? 
*  Maid '  in  the  sense  of  female  servant  is  not  uncommon  in  New  England 
villages.  —  fellow.  I,  ii,  415.  "Good  hay,  sweet  hay  hath  no  fellow," 
says  Bottom  when  '  translated  '  to  an  ass.  Mid.  N.  Dr.,  IV,  i,  31.  —  'Fel- 
low '  was  used  of  both  sexes.    Our  Jul.  Cxs.,  Ill,  i,  62.  —  85.  servant.    A 


86  THE  TEMPEST.  [act  III. 

Ferdinand.  My  mistress,  dearest, 

And  I  thus  humble  ever. 

Miranda.  My  husband,  then? 

Ferdinand.   Ay,  with  a  heart  as  willing 
As  bondage  e'er  of  freedom;  here's  my  hand. 

Miranda.   And  mine,  with  my  heart  in't:  and  now  fare- 
well 
Till  half  an  hour  hence. 

Ferdinand.  A  thousand  thousand !  91 

\_Exeunt  Ferdinand  and  Miranda. 

Prospero.    So  glad  of  this  as  they  I  cannot  be, 
Who  are  surprised  with  all ;  but  my  rejoicing 
At  nothing  can  be  more.     I'll  to  my  book, 
For  yet  ere  supper-time  must  I  perform 
Much  business  appertaining.  [^Exit. 

Scene  II.   Another  Part  of  the  Island. 

Enter  Caliban,  Stephano,  and  Trinculo. 

Stephano.  Tell  not  me :  —  when  the  butt  is  out,  we  will 
drink  water ;  not  a  drop  before :  therefore  bear  up,  and 
board  'em.  —  Servant-monster,  drink  to  me. 


strikingly  similar  passage  is  quoted  by  Phillpotts  from  Catullus,  Ixiv,  158- 
163.  Douce  and  Singer  think  Shakes,  had  in  mind  the  old  poem  of  '  The 
Nut-brown  Maid.'  — 87.  thus  humble.  Kneeling ? — 88.  willing  =  wish- 
ing ?  desirous  ?  —  91.  thousand  thousand.  Shakes,  is  fond  of  the  literal 
sense.  To  fare  is  to  go;  fareivell  =  *  sjyeed  well,'  prosper?  —  93.  are. 
Hudson  dares  to  change  this  to  am!  Many  editors  follow  Theobald  in 
printing  'withal'  instead  of  with  all. — 94:.  book.  Much  importance  at- 
taches to  books  in  this  play.  See  in  the  next  scene,  lines  84-90;  also,  I,  ii, 
109,  166-168;  V,  i,  57. 

''The  whole  courting  scene,"  says  Coleridge,  **  in  the  beginning  of  the 
third  act,  is  a  masterpiece ;  and  the  first  dawn  of  disobedience  in  the  mind 
of  Miranda  to  the  command  of  her  father  is  very  finely  drawn,  so  as  lo 
seem  the  working  of  the  Scriptural  command,  Thou  shall  leave  fatlier  and 
mother,  etc.  Oh,  with  what  exquisite  purity  this  scene  is  conceived  and 
executed!  Shakespeare  may  sometimes  be  gross,  but  1  boldly  say  that 
he  is  always  moral  and  modest.  Alas !  in  this,  our  day,  decency  of  man- 
ners is  preserved  at  the  expeuse  of  morality  of  heart,  and  delicacies  for 
vice  are  allowed  whilst  grossness  against  it  is  hypocritically,  or  at  least 
morbidly,  condemned." 

Scene  II.  1.  Tell  not  me.  Trinculo  carried  the  bottle?  II,  ii,  162. 
Had  he  been  talking  temperance?  —  2.  bear  up  =  take  your  course,  sail 
up  [Rolfe,  Schmidt]?  put  the  helm  up  and  keep  the  vessel  off  her  course 
[Wright,  Hudson,  following  Admiral  Smyth's  Sailor's  Wood-Book]?  make 
for  them  [Meiklejohn]  ?  — 3.  board  'em  =  enter  their  ship  by  force. 
Whose  ship?  —  servant-monster.     Ben  Jonson  in  his  induction  to  Bar- 


SCEXE  II.]  THE  TEMPEST.  87 

Trinculo.  Servant-monster !  the  folly  of  this  island !  They 
say  there's  but  five  upon  this  isle :  we  are  three  of  them ; 
if  th' other  two  be  brained  like  us,  the  State  totters. 

Stephano.  Drink,  servant-monster,  when  I  bid  thee ;  thy 
eyes  are  almost  set  in  thy  head. 

Trinculo,  Where  should  they  be  set  else?  he  were  a 
brave  monster  indeed,  if  they  were  set  in  his  tail.  lO 

Stephaiio.  My  man-monster  hath  drowned  his  tongue  in 
sack :  for  my  part,  the  sea  cannot  drown  me ;  I  swam,  ere  I 
could  recover  the  shore,  five  and  thirty  leagues  off  and  on, 
by  this  light !  —  Thou  shalt  be  my  lieutenant,  monster,  or 
my  standard. 

Trinculo.   Your  lieutenant,  if  you  list ;  he's  no  standard. 

Stephano.   We'll  not  run.  Monsieur  Monster. 

T-n'nculo.  Kor  go  neither ;  but  you'll  lie,  like  dogs,  and  yet 
say  nothing  neither. 

Stephano.  Moon-calf,  speak  once  in  thy  life,  if  thou  beest 
a  good  moon-calf.  21 

Caliban.  How  does  thy  honor  ?  Let  me  lick  thy  shoe. 
I'll  not  serve  him,  he  is  not  valiant. 

Trinculo.  Thou  liest,  most  ignorant  monster;  I  am  in 
case  to  justle  a  constable.  Why,  thou  debosh'd  fish,  thou, 
was  there  ever  a  man  a  coward  that  hath  djunk  so  much 
sack  as  I  to-day?  Wilt  thou  tell  a  monstrous  lie,  being 
but  half  a  fish  and  half  a  monster  ? 

Caliban.   Lo,  how  he  mocks  me  !  wilt  thou  let  him,  my  lord  ? 

Trinculo.  Lord,  quoth  he !  —  That  a  monster  should  be 
such  a  natural !  30 


tholomew  Fair,  written  between  1612  and  1614,  appears  to  ridicule  this 
terra.  Thus  helps  fix  the  date  of  this  play?  —  4;  the  folly,  etc.  Does  he 
mean  that  Caliban  is  a  fool  ?  or  that  Stephano  has  become  one  ?  or  that 
all  three  are  idiots?  — 6.  brained  =  deprived,  by  violence,  of  brains? 
possessed  of  brains?  — Line  85.  —  8.  set  =  fixed  (in  a  vacant  stare  as  if 
*  dead  drunk  ')  ?  See  1  Kings,  xiv,  4 ;  Twelfth  N.,  V,  i,  190, 191.  — 13.  off 
and  on  =  at  intervals ?  more  or  less?  back  and  forth?  — 14.  standard. 
So  '  ensign  '  is  sometimes  used  for  *  ensign-bearer,'  *  trumpet,'  for  *  trum- 
peter ' ;  Fr.  'guidon,'  cavalry  flag,  for  him  who  carries  it.  —  Note  the 
verbal  play  on  standard,  Caliban  being  unable  to  stand?  — 15.  you  list  = 
it  please  you  ?  You  is  said  to  be  in  the  dative  case.  — 17.  go  =  walk  ?  pro- 
ceed ?  —  case  =  situation  ?  condition  ?  —  25.  debosh'd.  Fr.  d^baucher,  to 
take  away  the  balks  (i.e.  beams)  of  a  building.  Bracket.  Wore,  gives 
de,  negative,  and  Fr.  bauche,  a  rank,  course  of  stones,  balk  or  beam,  the 
idea  being  *  that  of  removing  the  supports  of  a  house.'  The  spelling  in  the 
text  shows  the  pronunciation  in  Shakespeare's  time  ? — 26, 27,  30,  31.  mon- 
strous .  .  .  natural.     Note  the  quibbles.  —  natural.     Has  this  word 


88  THE  TEMPEST.  [act  III. 

Caliban.   Lo,  lo,  again !  bite  him  to  death,  I  prithee. 

Stephano.  Trinculo,  keep  a  good  tongue  in  your  head ;  if 
you  prove  a  mutineer,  —  the  next  tree  !  The  poor  monster's 
my  subject,  and  he  shall  not  suffer  indignity. 

Caliban.    I  thank  my  noble  lord.     Wilt  thou  be  pleas'd 
To  hearken  once  again  to  the  suit  I  made  to  thee  ? 

Stephano.  Marry,  will  I:  kneel  and  repeat  it;  I  will 
stand,  and  so  shall  Trinculo. 


Enter  Ariel,  invisible, 

Caliban.   As  I  told  thee  before,  I  am  subject  to  a  tyrant, 
A  sorcerer,  that  by  his  cunning  hath  cheated  me  40 

Of  the  island. 

Ariel.   Thou  liest. 

Caliban.   Thou  liest,  thou  jesting  monkey,  thou ; 
I  would  my  valiant  master  would  destroy  thee ! 
I  do  not  lie. 

Stephano.   Trinculo,   if  you  trouble   him  any  more  in's 
tale,  by  this  hand,  I  will  supplant  some  of  your  teeth. 

Trinculo.    Why,  I  said  nothing. 

Stephano.   Mum,  then,  and  no  more.  —  Proceed. 

Caliban.   I  say,  by  sorcery  he  got  this  isle ; 
From  me  he  got  it.     If  thy  greatness  will,  50 

Kevenge  it  on  him,  for  I  know  thou  dar'st, 
But  this  thing  dare  not. 

Stephano.   That's  most  certain. 

Caliban.    Thou  shalt  be  lord  of  it,  and  I'll  serve  thee. 

Stephano.   How  now  shall  this  be  compass'd  ?    Canst  thou 
bring  me  to  the  party  ? 


still  the  sense  *  fool*?  How  did  it  ever  get  such  a  meaning?  — 32.  again 
=  gibing  at  me  [Deighton]  ?  —  bite.  Very  significant  word !  —  37.  marry 
=  By  Mary  ?  Mary  help  me  ?  —  Sound  of  a  in  Maria  f 

42.  Stephano  and  Caliban  think  "Thou  liest"  to  be  spoken  by  Trin- 
culo?— 48.  jesting  monkey.  Wears  Trinculo  the  garb  of  the  profes- 
sional jester  or  court  fool?  —  4C.  by  this  hand.  An  oath?  a  means, 
instrument  or  mode  of  *  supplanting '  ?  Line  ()7.  In  Twelfth  N.,  I,  iii,  31, 
we  read,  "By  this  hand,  they  are  scoundrels."  Any  appropriateness  in 
swearing  by  the  hand?  —  Lat.  sub,  under;  planta,  sole  of  the  foot;  sup- 
plantare,  to  put  something  under  the  sole  of  the  foot,  to  trip  up  the  heels, 
to  overthrow.  Skeat. — 50.  mum.  Imitative?  For  the  subjective  inter- 
nal force  of  the  sound,  see  our  Masterpieces  in  Eng.  Lit.y  pp.  40,  61.  —  55. 
compassed.    Stephano  feels  and  talks  *biP"'V     bo  he  says  'party'!  — 


SCENE  II.]  THE  TEMPEST.  89 

Caliban.    Yea,  yea,  my  lord ;  I'll  yield  him  thee  asleep, 
Where  thou  mayst  knock  a  nail  into  his  head. 

Ariel.   Thou  liest ;  thou  canst  not. 

Caliban.    What    a    pied    ninny's    this!       Thou    scurvy 
patch !  — 
I  do  beseech  thy  greatness,  give  him  blows,  61 

And  take  his  bottle  from  him :  when  that's  gone. 
He  shall  drink  nought  but  brine ;  for  I'll  not  show  him  • 
Where  the  quick  freshes  are. 

Stephano.  Trinculo,  run  into  no  further  danger ;  interrupt 
the  monster  one  word  further,  and,  by  this  hand,  I'll  turn 
my  mercy  out  o'  doors,  and  make  a  stock-fish  of  thee. 

Trinculo.  Why,  what  did  I?  I  did  nothing.  I'll  go 
farther  off. 

/Stephano.   Didst  thou  not  say  he  lied  ?  70 

Ariel.   Thou  liest. 

/Stephano.  Do  I  so?  take  thou  that.  [^Beats  him.']  As 
you  like  this,  give  me  the  lie  another  time. 

Trinculo.  I  did  not  give  the  lie.  Out  o'  your  wits,  and 
hearing  too  ?  —  A  pox  o'  your  bottle !  this  can  sack  and 
drinking  do.  —  A  murrain  on  your  monster,  and  the  devil 
take  your  fingers ! 

Caliban.   Ha,  ha,  ha ! 

Stephano.  Now,  forward  with  your  tale.  —  Prithee,  stand 
farther  off.  80 

Caliban.   Beat  him  enough ;  after  a  little  time 
I'll  beat  him  too. 

Stephano.  Stand  farther.  —  Come,  proceed. 


58.  knock  a  nail.  Judges^  iv,  21, 22.  Has  Miranda  taught  Caliban  Bible 
stories?  I,  ii,  352;  II,  ii,  128. — 60.  pied.  Lat.  pica,  a  magpie;  fr.  root 
pi,  imitative,  a  pica  being  a  chirper.  Any  allusion  to  the  magpie's  colors  ? 
—  ninny,  fr.  Gaelic  neoni,  a  fool,  or  shortened  from  nincompoop  (i.e.  7io)i 
compos  mentis,  not  sound  of  mind)  ?  or  fr.  Ital.  ninno,  a  child;  iiinna,  a 
lullaby  to  rock  infants  to  sleep.  Wore,  Skeat,  etc.  —  patch.  Named 
from  his  dress?  See  our  3fer.  of  Ven.,  II,  iv,  45.  —  64.  quick  freshes. 
In  I,  ii,  462,  we  have  *  fresh-brook  muscles.'  Nowhere  but  here  is  *  fresh  * 
used  for  sweet-water  springs.  Quick  as  in  Hamlet,  Y,  i,  120;  2  Tim., 
iv,  1,  etc.  — 67.  stock-fish.  In  i  Henry  IV,  II,  iv,  228,  Falstaff  addresses 
Hal,  "You  starveling,  you  eel-skin,  you  dried  neat's  tongue,  you  stock-, 
fish!  "  In  Ben  Jonson's  Every  Man  in  His  Humor,  1598,  we  find  "Thou 
wilt  be  beaten  like  a  stock-fish."  The  word  is  said  to  mean  dried  cod, 
which  was  beaten  before  boiling.  '' Je  te  frotteray  a  double  carrillon,  I 
will  beat  thee  like  a  stock-fish."  HoUyband's  French  Diet.,  1693.  —  72. 
as=according  as?  if?  —  76.  murrain.    Lat.  mori*  to  die-    Exodus,  ix,  3. 


90  THE  TEMPEST,  [ACT  TIT. 

Caliban,   Why,  as  I  told  thee,  'tis  a  custom  with  him 
I'  the  afternoon  to  sleep ;  there  thou  mayst  brain  him, 
Having  first  seized  his  books,  or  with  a  log 
Batter  his  skull,  or  paunch  him  with  a  stake. 
Or  cut  his  weasand  with  thy  knife.     Eemember 
First  to  possess  his  books,  for  without  them 
He's  but  a  sot,  as  I  am,  nor  hath  not 

One  spirit  to  command  ;  they  all  do  hate  him  90 

As  rootedly  as  I.     Burn  but  his  books. 
He  has  brave  utensils,  —  for  so  he  calls  them,  — 
Which,  when  he  has  a  house,  he'll  deck  withal. 
And  that  most  deeply  to  consider  is 
The  beauty  of  his  daughter.     He  himself 
Calls  her  a  nonpareil ;  I  never  saw  a  woman, 
But  only  Sycorax  my  dam  and  she ; 
But  she  as  far  surpasseth  Sycorax 
As  greatest  does  least. 

Stephano.  Is  it  so  brave  a  lass  ? 

Caliban.    Ay,  lord.  100 

Stephano.  Monster,  I  will  kill  this  man;  his  daughter 
and  I  will  be  king  and  queen,  —  save  our  graces !  —  and 
Trinculo  and  thyself  shall  be  viceroys.  Dost  thou  like  the 
plot,  Trinculo  ? 

Trinculo.   Excellent. 

Stephano.  Give  me  thy  hand:  I  am  sorry  I  beat  thee; 
but,  while  thou  livest,  keep  a  good  tongue  in  thy  head. 

Caliban.     Within  this  half  hour  will  he  be  asleep ; 
Wilt  thou  destroy  him  then  ? 

Stephano.  Ay,  on  mine  honor.  iio 

84.  there.  In  his  cell?  in  his  sleep?  — brain.  LineG.  —  85.  books. 
I,  ii,  l()r)-1()8.— 80.  paunch.  Like  ^rrtiw,  84?— 87.  weasand.  Perhaps 
an  initial  A  lias  been  lost,  so  that  iveasand,  the  form  being  evidently  that 
of  a  pres.  participle,  is  lit.  'the  wheezing  thing,'  the  windpipe.  Skeat, 
Wore.  —  89.  sot.  A.  S.  sot,  foolish;  Fr.  sot,  fool;  Sp.  zote,  blockhead. 
Cotgrave's  Fr.  and  Eng.  Diet.,  1()()0,  delines  sot  as  *  asse,  dunee,  dullard, 
blockhead  .  .  .  also  a  foole.'  — 91.  but  =  only,  in  two  senses  [Wright]? 
—  92.  utensils.  IMilton,  Par.  Re(i.,  iii,  .H3(),  appears  to  accent  this  word 
on  1st  syl. — 94.  that  .  .  .  consider  =  that  which  is  ...  to  be  con- 
sidered?' Abbott,  244,  359,  40."). —9<;.  non-pareil.  See  onr  Mach.,  Ill, 
iv,  19.  —  97.  Sycorax.  I,  ii,  258.  —  she.  Shakes.,  it  is  said,  nine  times 
omits  the  inflection  of  'she.'  Abbott,  211.  Fiirness's  Othello,  IV,  ii,  5. 
"Mere  carelessness  on  Shakespeare's  part."  R.  G.  White.— 99.  brave. 
I,  ii,  G.  — 100.  Ay,  lord.  As  usual,  the  folio  has  /.- She  will  become 
thy  bed,  1  warrant.  Beeome  =  adorn  —  101.  And  bring  thee  forth 
brave  brood.     Brave  as  in  99,  and  I,  ii,  G. 


SCENE  II.]  THE  TEMPEST.  91 

Ariel.     This  will  I  tell  my  master. 

Caliban.    Thou  mak'st  me  merry ;  I  am  full  of  pleasure. 
Let  us  be  jocund;  will  you  troll  the  catch 
You  taught  me  but  while-ere  ? 

Stepliano.   At  thy  request,  monster,  I  will  do  reason,  any 
reason.  —  Come  on,  Trinculo,  let  us  sing.  [Sings. 

Flout  'em  and  scout  'em,  and  scout  'em  and  flout  'em; 
Thought  is  free. 

Caliban.   That's  not  the  tune. 

[Ariel  plays  the  tune  on  a  tabor  and  pipe. 

Stephano.   What  is  this  same  ?  120 

Trinculo.   This  is  the  tune  of  our  catch,  played  by  the 
picture  of  Nobody. 

Stephano.    If  thou  beest  a  man,  show  thyself  in  thy  like- 
ness ;  if  thou  beest  a  devil,  take't  as  thou  list. 

Trinculo.    0,  forgive  me  my  sins  ! 

Stephano.   He  that  dies  pays  all  debts;  I  defy  thee. — 
Mercy  upon  us ! 

Caliban.    Art  thou  af eard  ? 

Stephano.   No,  monster,  not  I. 

Caliban.    Be  not  afeared ;  the  isle  is  full  of  noises,        130 
Sounds  and  sweet  airs,  that  give  delight  and  hurt  not. 


113.  troll  =  round  out  glibly  or  volubly  [Hudson]  ?  sing  in  rollicking 
fashion  [Meiklejohn]  ?  run  glibly  over  (an  imitative  word)  [Wright]  ?  sing 
irregularly  [Skeat]  ?  —  French  troler,  to  lead,  drag;  O.  Fr.  trailer,  Ger. 
trollen,  Welsh  trolio,  Mid.  E.  trollen,  to  roll.  "  To  troll  the  bowl  is  to  send 
it  round,  to  circulate  it."  Skeat.  —  catch.  'A  part-song  or  round,  in 
which  one  singer  catches  up  the  words  and  air  after  another.'  "  The 
words  of  one  part  are  made  to  answer,  or  catch  the  other ;  as  '  Ah!  how, 
Sophia,'  sung  like  '  a  house  o'  fire,'  '  Burney's  History,'  like  '  burn  his  his- 
tory,' etc."  Chappell's  Popular  Music  of  the  Olden  Time.  — 114.  Tt^hile- 
ere  =  erewhile,  some  time  ago?  —  A.  S.  aer,  before;  hioil,  time.  —  Abbott, 
137.  — 118.  Thought  is  free.  Note  what  Dowden  {Shakesjjeare  —  Hl^ 
Mind  and  Art,  373,  376)  says  of  Shakespeare's  treatment,  in  this  play,  of 
the  question,  'What  is  f  reedom  ?  '  — 119.  not  the  tune.  Caliban's  ear 
better  than  Stephano's?  — tabor  =*  a  sort  of  drum  (beaten  with  one  stick)  ? 
a  hoop  with  sheepskin  stretched  tight  over  it,  making  a  kind  of  drum  like 
a  tambourine?  — 121.  picture  of  Nobody.  Knight  reproduces  the  old 
picture  of  '  No  Body,'  a  figure  of  a  head,  arms,  legs,  without  a  trunk 
(body).  It  often  appeared  on  sign-boards.  In  1606  such  a  picture  was 
prefixed  to  a  comedy  (privately  reprinted  in  1877)  entitled  ^No-body  and 
Some-body .'  Some  of  Cruikshank's  caricatures  are  based  on  this  idea. 
— 124.  take't  as  thou  list  =  take  what  shape  pleases  thee  [Rolfe]  ?  take 
my  remark  as  you  may  please  [Deighton]  ? — 130-139.  This  savage  has  much 
poetry  in  his  soul.  — 134.  that,  etc.    '  That,'  without  so  before  it,  often 


92  THE    TEMPEST,  [ACT  III. 

Sometimes  a  thousand  twangling  instruments 
Will  hum  about  mine  ears ;  and  sometimes  voices, 
That,  if  I  then  had  wak'd  after  long  sleep, 
Will  make  me  sleep  again :  and  then,  in  dreaming, 
The  clouds  methought  would  open,  and  show  riches 
Ready  to  drop  upon  me ;  that,  when  I  wak'd, 
I  cried  to  dream  again. 

Stephano.  This  will  prove  a  brave  kingdom  to  me,  where 
I  shall  have  my  music  for  nothing.  140 

Caliban.    When  Prospero  is  destroyed. 

Stephano.     That  shall  be  by  and  by ;  I  remember  the  story. 

Trinculo.  The  sound  is  going  away ;  let's  follow  it,  and 
after  do  our  work. 

Stephano.  Lead,  monster ;  we'll  follow.  — I  would  I  could 
see  this  taborer ;  he  lays  it  on. 

Trinculo.  Wilt  come  ?  \_To  Caliban.']  I'll  follow  Stephano. 

\_Exeunt. 

Scene  III.     Another  Part  of  the  Island. 

Enter  Alonso,    Sebastian,  Antonio,  Gonzalo,  Adrian, 
Francisco,  and  others. 

Gonzalo.    By'r  lakin !     I  can  go  no  further,  sir ; 
My  old  bones  ache :  here's  a  maze  trod,  indeed. 
Through  f orth-rights  and  meanders !     By  your  patience, 
I  needs  must  rest  me. 

expresses  result.  I,  ii,  86.  — 142.  by  and  by  =  immediately ;  presently? 
Matt.,  xiii,  21;  Luke,  xxi,  9;  often  in  Shakes.,  as  Hamlet,  III,  ii,  360,  362. 
— 147.  Stephano.  The  folio  puts  'Stephano'  in  italics  with  no  pause 
before  it.  Steevens  (1778)  inserted  a  comma,  as  if  Stephano  were  ad- 
dressed. Trinculo  and  Stephano  incline  to  follow  the  music,  Stephano 
going  foremost.  Caliban,  a  little  disgusted,  tarries.  Trinculo  turns  to 
him  and  says,  **  Wilt  come?    I'll  follow  Stephano." 

Scene  III.  1.  JBy'r  lakin!  —  Lady  kin  =  \itt\e  lady;  i.e.  the  Virgin 
Mary.  Minced  oaths  and  dimin.  nouns  were  common.  So  zounds  (for 
'God's  wounds'),  sblood  (for  'God's  blood');  sdeath,  etc.  The  -kiJi  is 
affectionate,  as  we  express  by  the  phrase  ' pi-eclous  little.' — 2.  ache. 
I,  ii,  368.  The  1st  folio  has  '  akes,'  whi«h  Abbott,  333,  thinks  to  be  the  old 
North-of-England  3d  pers.  plural.  —  maze  =  artificially  constructed  laby- 
rinth [Halliwell]?  —  Mid.  E.  masen,  to  confuse,  puzzle.  Prob.  the  orig. 
sense  was  'to  be  lost  in  thought,'  to  dream,  from  the  root  ma,  to  think 
(shorter  form  of  man)  ,  akin  to  mind.  Man  is  the  thinking  animal.  Skeat. 
—  3.  f  orth-rights  =  paths  at  right  angles  [Phillpotts]  ?  straight  paths 
[Knight,  Wright,  Hudson,  Rolfe,  etc.]?  straight  lines  [Hunter]?  — me- 
anders =  crooked  lines  [Hudson]?  circles  [Knight]?  winding  paths 
[Rolfe]?  —  The  windings  of  the  ancient  river  Meander  are  said  to  be  due 
largely  to  its  shifting  its  channel  as  it  strolls  through  the  sandy  Mats. — 


SCENE  III.]  THE  TEMPEST,  93 

Alonso.  Old  lord,  I  cannot  blame  thee, 

Who  am  myself  attached  with  weariness, 
To  the  dulling  of  my  spirits  ;  sit  down,  and  rest. 
Even  here  I  will  put  off  my  hope,  and  keep  it 
No  longer  for  my  flatterer ;  he  is  drown'd 
Whom  thus  we  stray  to  find,  and  the  sea  mocks 
Our  frustrate  search  on  land.     Well,  let  him  go.  10 

Antonio.    [^Aside  to  Sebastian^  I  am  right  glad  that  he's 
so  out  of  hope. 
Do  not,  for  one  repulse,  forego  the  purpose 
That  you  resolv'd  to  effect. 

Sebastian.    \^Aside  to  Antonio"]  The  next  advantage 
Will  we  take  throughly. 

Antonio.    [^Askle  to  Sebastian]  Let  it  be  to-night ; 
For,  now  they  are  oppressed  with  travel,  they 
Will  not,  nor  cannot,  use  such  vigilance 
As  when  they  are  fresh. 

Sebastian,    [_Aside  to  Antonio]  I  say,  to-night ;  no  more. 

[^Solemn  and  strange  music. 

Alonso.  What  harmony  is  this  ? —  My  good  friends,  hark ! 

Gonzalo.   Marvellous  sweet  music ! 


Enter  Prospero  above,  invisible.  Enter  several  strange 
Shapes,  bringing  in  a  banquet:  they  dance  about  it  with 
gentle  actions  of  salutation;  and,  inviting  the  King,  etc.^  to 
eat,  they  depart. 

Alonso.   Give  us  kind  keepers,  heavens!  —  What  were 

these  ? 
Sebastian.   A  living  drollery.     Now  I  will  believe  21 


5.  attach'd.  Fr.  attacher^  doublet  of  attaquer.  Littre  suggests  a  con- 
nection with  Gael,  tac,  a  nail.  Bracket.  **  The  regular  O.  F.  sense  was  to 
•fasten,'  as  in  Mod.  Eng.  .  .  .  The  earlier  Eng.  sense  of  'arrest,  seize* 
arose  ...  as  an  elliptical  expression  for  *  attach  by  some  tie  to  the  control 
or  jurisdiction  of  the  court,'  i.e.  so  that  it  shall  have  a  hold.  .  .  .  The  Ital. 
equivalent  is  attaccare.  .  .  .  Attaccare  hattaglia,  to  join  battle,  attac- 
carsi  a,  to  fasten  (one's  self)  upon,  *  attack.'  "  Murray's  New  Eng.  Diet. 
—  Shakes,  uses  'attach'  repeatedly  in  the  sense  of  seize.  —  8.  no  longer 
for  =  uo  longer  to  be?  — 10.  frustrate.  Shakes,  often  avoids  adding  -d 
or  -ed  after  the  sound  of  d  or  t.  Abbott,  341,  342. —12.  forego  =  quit, 
give  up?  —  Would  forgo  be  better?  —  The  for  (not  fore)  —  from,  forth, 
away?  —  See  note  on  fordo  in  our  Hamlet,  V,  i,  210.  —14.  throughly  = 
thoroughly?  Mer.  of  Fen.,  11,  vii,  42;  IV,  i,  164.  —  21.  drollery  =  pup- 
pet-show.   Here  the  figures  are  living.  —  Fr.  drole,  a  knave,  sharp  rogue; 


04  THE   TEMPEST.  [act  III. 

That  there  are  unicorns  ;  that  in  Arabia 

There  is  one  tree,  the  phoenix'  throne,  one  phoenix 

At  this  hour  reigning  there. 

Antonio.  I'll  believe  both ; 

And  what  does  else  want  credit,  come  to  me. 
And  I'll  be  sworn  'tis  true  ;  travellers  ne'er  did  lie, 
Though  fools  at  home  condemn  'em. 

Gonzalo.  If  in  Naples 

I  should  report  this  now,  would  they  believe  me  ? 
If  I  should  say  I  saw  such  islanders,  — 
For,  certes,  these  are  people  of  the  island,  —  30 

Who,  though  they  are  of  monstrous  shape,  yet,  note, 
Their  manners  are  more  gentle-kind  than  of 
Our  human  generation  you  shall  find 
Many,  nay,  almost  any. 

Prospero.    \_Aside]         Honest  lord. 
Thou  hast  said  well ;  for  some  of  you  there  present 
Are  worse  than  devils. 

Alonso.  I  cannot  too  much  muse 

Such  shapes,  such  gesture,  and  such  sound,  expressing  — 
Although  they  want  the  use  of  tongue  —  a  kind 
Of  excellent  dumb  discourse. 

(^ro^e,  a  wag ;  Icel.  fro?/,  a  hobgoblin.  Skeat.  —  22.  unicorns.  Poetically- 
evolved  from  the  rhinoceros?  —  Lat.  umis,  one;  cornu,  horn. — 23.  phoe- 
nix. Herodotus,  in  Euterpe,  ii,  73,  and  Pliny,  Lib.  X,  ii,  describe  this 
bird.  Herodotus  tells  us  it  "makes  its  appearance  .  .  .  only  once  in  500 
years.  .  .  .  They  say  that  it  comes  on  the  death  of  its  sire.  If  he  is  like 
the  picture  .  .  .  the  plumage  of  his  wings  is  partly  golden-colored  and 
partly  red  ;  in  outline  and  size  he  is  very  like  an  eagle."  Pliny  quotes  the 
noble"  Roman  senator  Mamilius  as  saying  that  the  phoenix  "  liveth  0(>0 
years,  and  when  he  groweth  old,  and  begins  to  decay,  he  builds  himself 
with  the  twigs  find  branches  of  the  canell  or  cinnamon  and  frankin- 
cense trees ;  and  when  he  hatli  filled  it  up  with  all  sorts  of  sweet  aromat- 
ical  spices,  yieldeth  up  his  life  thereupon.  ...  It  was  assured  unto  me 
that  the  said  bird  died  with  that  tree  [date-tree,  called  in  Greek  <^o(,Vi^, 
phoinix],  and  revived  of  itself  again."  HollaniVs  tranMation,  1601.  —  It 
was  commonly  said  that  the  bird  was  consumed  in  flames,  and  from  the 
ashes  sprang  a  new  plioenix.  Hence  the  name  in  fire-insurance.  See 
Shakespeare's  Phcenix  and  the  Turtle,  Milton's  Sanison  Af/o)iistes,  and 
Moore's  Paradise  and  the  Perl.  —  30.  certes.  Used  by  Shakes.  5  times, 
says  Rolfe.  —  31.  who.  This  use  of  u^ho,  without  a  verb,  is  a  Latin 
idiom,  and  illustrates  what  has  been  called  the  nominativus  pendens.  See 
our  Mer.  of  Ven.,  I,  iii,  12(),  note  on  *  Wlio,  if  he  break.'  —30.  muse  = 
wonder  [Keightley]  ?  wonder  at  [Wright,  Hudson,  Rolfe,  etc.]?  — 
Keightley  puts  a  pause  after  *  muse,'  and  makes  a  broken  sentence  of  what 
follows.  —  Lat.  mussare,  to  mutter,  grumble;  brood  over  [Phillpotts]  ?  — 
O.  Fr.  muse,  mouth,  akin  to  muzzle;  Ital.  muso,  snout,  face.  The  image 
is  that  of  a  dog  snuiling  idly  about,  and  musing  which  direction  to  take! 


SCENE  III.]  THE   TEMPEST.  95 

Frospero.    [Aside']  Praise  in  departing. 

Francisco.   They  vanished  strangely. 

Sebastian.  No  matter,  since  40 

They  have  left  their  viands  behind ;  for  we  have  stomachs  — 
Will't  please  you  taste  of  what  is  here? 

Alonzo.  Not  I. 

Gonzalo.   Faith,  sir,  you  need  not  fear.     When  we  were 
boys, 
Who  would  believe  that  there  were  mountaineers 
Dew-lapp'd  like  bulls,  whose  throats  had  hanging  at  'em 
Wallets  of  flesh  ?  or  that  there  were  such  men 
Whose  heads  stood  in  their  breasts  ?  which  now  we  find 
Each  putter-out  of  five  for  one  will  bring  us 
Good  warrant  of. 

Alonso.  I  will  stand  to  and  feed. 

Although  my  last ;  no  matter,  since  I  feel  50 

The  best  is  past.  —  Brother,  my  lord  the  duke, 
Stand  to,  and  do  as  we. 

Tlmnder  and  lightning.  Enter  Ariel,  like  a  harpy ;  claps  his 
wings  upon  the  table,  and  ivith  a  quaint  device  the  banquet 
vanishes. 


Skeat.  —39.  Praise  in  departing  =  do  not  praise  too  soon  ?  —  Proverbial  ? 

—  45.  dew-lapp'd,  etc.  Swiss  victims  of  goitre,  tumor  on  the  throat 
[Lat.  guttur,  throat;  Fr.  .^oi^re]  ?  — See  our  Mid.  N.  Dr.,  IV,  i,  119.— 
46.  -wallets,  etc.  *'lt  is  not  difficult  to  surmise  that  the  pouched  apes 
gave  rise  to  the  story."  Fiirness.  —  47.  heads  stood  in  their  breasts. 
So  Pliny,  Nat.  Hist.,  v,  8:  Hakluyt's  Voyages  (1598) ;  Othello,  I,  iii,  144. 

—  48.  putter-out  =  one  who  puts  to  sea  [Schmidt]  ?  investor,  depositor? 

—  putter-out  of  five  =  putter-out  at  the  rate  of  five  [Wright,  Collier, 
Knight,  etc.]  ?  —  *  A  popular  mode  of  adventurous  betting.'  —  "I  intend  to 
travel.  ...  I  will  put  forth  some  £5,00(),  to  be  paid  me  5  for  1,  upon  the 
return  of  my  wife,  myself,  and  my  dog  from  the  Turk's  court  in  Constan- 
tinople. If  all  or  either  of  us  miscarry  in  the  journey,  'tis  gone ;  if  we  be 
successful,  why  there  will  be  £25,000."  Ben  Jonson's  Every  Man  Out  of 
His  Humor. 

Stage  direction.  Enter  Ariel  as  a,  harpy,  etc.  —  If  a  doubt  could  ever 
be  entertained  whether  Shakespeare  was  a  great  poet,  acting  upon  laws 
arising  out  of  his  own  nature,  and  not  without  law,  as  has  been  sometimes 
idly  asserted,  that  doubt  must  be  removed  by  the  character  of  Ariel.  The 
very  first  words  uttered  by  this  being  introduce  the  spirit,  not  as  an  angel, 
above  man ;  not  as  a  gnome,  or  a  fiend,  below  man ;  but  while  the  poet 
gives  him  the  faculties  and  the  advantages  of  reason,  he  divests  him  of  all 
mortal  character,  not  positively,  it  is  true,  but  negatively.  In  air  he  lives, 
from  air  he  derives  his  being,  in  air  he  acts ;  and  all  his  colors  and  proper- 
ties seem  to  have  been  obtained  from  the  rainbow  and  the  skies.  —  Colo- 
ridge's  Seveji  Lectures. 


96  THE  TEMPEST.  [ACT  III. 

Ariel.   You  are  three  men  of  sin,  whom  destiny, 
That  hath  to  instrument  this  lower  world 
And  what  is  in't,  the  never-surfeited  sea 
Hath  caused  to  belch  up  —  you !  —  and  on  this  island, 
Where  man  doth  not  inhabit,  you  'mongst  men 
Being  most  unfit  to  live.     I  have  made  you  mad ; 
And  even  with  such-like  valor  men  hang  and  drown 
Their  proper  selves. 

\_Alo7iso,  Sebastian,  and  Antonio  draw  their  swords. 
You  fools  !     I  and  my  fellows  60 

Are  ministers  of  Fate ;  the  elements. 
Of  whom  your  swords  are  tempered,  may  as  well 
Wound  the  loud  winds,  or  with  bemock'd-at  stabs 
Kill  the  still-closing  waters,  as  diminish 
One  dowle  that's  in  my  plume.     My  fellow-ministers 
Are  like  invulnerable.     If  you  could  hurt. 
Your  swords  are  now  too  massy  for  your  strengths, 
And  will  not  be  uplifted.     But  remember,  — - 


52.  Ariel  in  the  character  of  a  harpy,  and  the  banquet  scene,  are  imi- 
tated from  Vergil's  Mneid,  iii,  209  et  seq.  —  men  of  sin.  Biblical? 
2  Thess.,  ii,  3. — 53.  to  instrument.  II,  i,  73. — 54^.  never-surfeited, 
etc.  The  sea,  that  swallows  all,  cannot  contain  in  its  maw  these  three 
rascals,  but  vomits  them  forth !  —  55.  to  belch  up  —  you !  —  and.  Here 
we  deviate  from  the  usual  punctuation  and  interpretation.  The  common 
reading  is,  'Hath  caused  to  belch  up  you;  and ';  the  common  interpreta- 
tion makes  '  you '  redundant,  thus :  **  whom  destiny  hath  caused  the  never- 
surfeited  sea  to  belch  up  you."  Abbott  (249),  Collier,  Wright,  Hudson 
and  others  declare  the  *you'  to  be  supplementary,  superfluous,  or  even 
*  extremely  awkward.'  Staunton  and  Hudson  would  change  *  you '  to 
'yea.'  But  suppose  we  adopt  a  different  punctuation.  Remember  that 
three  men,  Alonzo,  Sebastian,  and  Antonio,  are  to  be  singled  out.  They 
naturally  are  together,  slightly  apart  from  Gonzalo,  Adrian,  Francisco, 
and  the  others.  At  the  words  *  belch  up,'  the  three  naturally  turn  to 
glance  at  the  rest,  all  of  whom  have  been  cast  up  by  the  nauseated  sea. 
By  a  gesture,  a  look,  a  pause,  and  an  intensely  emphatic  you,  Ariel  sepa- 
rates these  three  great  sinners  from  the  rest  of  the  company,  and  notifies 
them  that  they  alone  are  the  'vessels  of  wrath  fitted  to  destruction.' 
Eom.,  ix,  22.  Does  not  our  explanation  give  dramatic  vividness  and  energy 
to  the  otherwise  bungling,  tame,  and  feeble  utterance?  —  59.  such-Hke. 
The  critics  pronounce  this  pleonastic,  because  such  is4tself  shortened  from 
A.  S.  swulCy  suilCy  suilch,  or  sich,  or  Gothic  swa,  so ;  and  A.  S.  lik,  Gothic 
leiks,  like.  Abbott,  278.  —  60.  proper  =  appropriate  ?  own  ?  —  62.  whom. 
Abbott,  264.  —  63.  See  the  somewhat  similar  passage  in  Macb.,  V,  viii,  9, 
10. —64.  still-closing.  I,  ii,  229.-65.  dowle  =  filament  of  a  feather 
or  of  down?  —  Skeat  makes  down  akin  to  dust,  meaning  that  which  is 
blown.  Wright  and  others  show  down  and  doiole  to  be  equivalent. — 
(16.  like  =  similarly ?  alike?  — 67.  massy  =  bulky?  heavy?  massive?  — 
Gr.  ixda-aeiv,  massein,  to  knead;  fxa^a,  maza,  Lat.  niassa,  a  kneaded  lump, 
dough;  barley  bread;  Fr.  masse,  mass,  lump. —strengths.    So  wraths^ 


SCENE  III.]  THE    TEMPEST,  97 

For  that's  my  business  to  you,  —  that  you  three, 

From  Milan  did  supplant  good  Prospero,  70 

Exposed  unto  the  sea,  which  hath  requit  it. 

Him  and  his  innocent  child ;  for  which  foul  deed 

The  Powers,  delaying,  not  forgetting,  have 

Incens'd  the  seas  and  shores,  yea,  all  the  creatures, 

Against  your  peace.     Thee  of  thy  son,  Alonso, 

They  have  bereft,  and  do  pronounce  by  me, 

Lingering  perdition  —  worse  than  any  death 

Can  be  at  once  —  shall  step  by  step  attend 

You  and  your  ways ;  whose  wraths  to  guard  you  from,  — 

Which  here,  in  this  most  desolate  isle,  else  falls  80 

Upon  your  heads,  —  is  nothing  but  heart's  sorrow. 

And  a  clear  life  ensuing. 

He  vanishes  in  thunder ;  then,  to  soft  music,  enter  the  Shapes 
again,  and  dance  with  mocks  and  mows,  and  carry  out  the 
table. 

Prospero.   \_Aside']   Bravely  the  figure  of  this  harpy  hast 
thou 
Performed,  my  Ariel ;  a  grace  it  had,  devouring. 
Of  my  instruction  hast  thou  nothing  bated 
In  what  thou  hadst  to  say ;  so,  with  good  life 

\ine  79.  See  on  lover^  our  ed.  of  Hamlet^  I,  i,  173;  Jul.  Cdss.,  I,  ii,  39. 
Does  the  plural  form  indicate  nicer  discrimination?  —  70.  supplant.  See 
on  III,  ii,  46.  — 71.  requit.  See  on  frustrate,  line  10;  I,  ii,  148;  Abbott, 
341,  'M2.  —  73.  Powers,  that  '  make  for  righteousness.'  So  "  They  fought 
from  heaven ;  the  stars  in  their  courses  fought  against  Sisera,"  Judges, 
V,  20;  Rom.,  ix,  22;  Luke,  xviii,  7;  Ecclesiastes,  viii,  11.  — 78.  at  once. 
'Death  at  once'  vs.  'lingering  perdition'?  —  79,  80.  wraths  .  .  .  falls. 
Explain  the  'singular.'  Is  'wraths  '  capable  of  being  taken  as  one?  — 
wnich.  '  Singular  '  by  attraction  to  the  '  singular  '  substantive  '  isle  ' 
[Wright]?  — ^56o«,  247,  333,  412.  — 82.  clear.  3Iacb.,  I,  vii,  18.  —  "  Ariel 
seems  to  me  to  represent  the  keenest  perceiving  intellect,  separate  from 
all  moral  consciousness  and  sense  of  responsibility.  His  power  and  knowl- 
edge are  in  some  respects  greater  than  those  of  his  master,  —  he  can  do 
what  Prospero  cannot,  —  he  lashes  up  the  Tempest  round  the  island,  —  he 
saves  the  king  and  his  companions  from  the  shipwreck,  —  he  defeats  the 
conspiracy  of  Sebastian  and  Antonio,  and  discovers  the  clumsy  plot  of  the 
beast  Caliban,  —  he  wields  immediate  influence  over  the  elements,  and 
comprehends  alike  without  indignation  or  sympathy,  —  which  are  moral 
results,  —  the  sin  and  suffering  of  humanity.  Therefore,  —  because  he  is 
only  a  spirit  of  knowledge,  he  is  subject  to  the  spirit  of  love."  —  Mrs.  F.  A. 
Kemble,  quoted  by  Furness. 

82.  mows.  II,  ii,  9.-83.  bravely.  Ill,  ii,  99.-84.  devouring  = 
swallowing  the  banquet  [Deighton]  ?  absorbing  [Schmidt]  ?  appearing  to 
devour  [Dyce]?~86.  with  good  life  =  with  all  the  truth  of  life  itself, 


98  THE    TEMPEST.  [ACT  III. 

And  observation  strange,  my  meaner  ministers 

Their  several  kinds  have  done.     My  high  charms  work, 

And  these  mine  enemies  are  all  knit  np 

In  their  distractions  :  they  now  are  in  my  power ;  90 

And  in  these  fits  I  leave  them,  while  I  visit 

Young  Ferdinand,  — whom  they  suj^pose  is  drown'd, — 

And  his  and  mine  lov'd  darling.   '  \^Exit  above. 

Gonzalo.    V  the  name  of  something  holy,  sir,  why  stand 
you 
In  this  strange  stare  ? 

Alonso.  O,  it  is  monstrous,  monstrous ! 

Methought  the  billows  spoke,  and  told  me  of  it ; 
The  winds  did  sing  it  to  me,  and  the  thunder, 
That  deep  and  dreadful  organ-pipe,  pronounc'd 
The  name  of  Prosper :  it  did  bass  my  trespass. 
Therefore  my  son  i'  the  ooze  is  bedded ;  and  100 

I'll  seek  him  deeper  than  e'er  plummet  sounded, 
And  with  him  there  lie  mudded.  [^Exit. 

Sebastiayi.  But  one  fiend  at  a  time, 

I'll  fight  their  legions  o'er. 

Antonio.  I'll  be  thy  second. 

\_Exeunt  Sebastian  and  Antonio. 

Gonzalo.   All  three  of  them  are  desperate;    their   great 
guilt. 
Like  poison  given  to  work  a  great  time  after. 
Now  gins  to  bite  the  spirits.  —  I  do  beseech  you 


and  with  rare  observance  of  the  proprieties  of  action  [Hudson,  Wright]  ? 
good  spirit  [Rolfe]  ?  *  With  good  life '  is  still  proverbial  in  the  west  of 
England,  and  signifies  loith  the  full  bent  or  enercfy  of  the  mind.  HeJiJcy. 
*'  So  we  say,  '  he  acted  to  the  life.^  "  Johnson.  —  87.  meaner  =  of  lower 
rank?  —  Lat.  medianus,  luedius,  ¥r.  inoyen,  mean,  middle,  intermediate. 

—  88.  several.  As  in  III,  i,  42?  — kinds  have  done  =  have  acted  out 
their  several  natures,  i.e.  \hQ\v  parts  [Hudson]  ?  acted  out  their  characters 
[Meiklejohn]  ?  The  clown  that  brings  the  fatal  asp  to  Cleopatra  cautions 
lier  by  saying,  "  The  worm  will  do  his  kind."     Ant.  and  Cleop.,  V,  ii,  2()1. 

—  92.  whom  ...  is  drowned.  Confusion  of  two  constructions,  "who 
they  suppose  is  drowned,"  "whom  they  suppose  to  he  drowned"? 
Abbott,  410.  More  liberty  than  now  in  Shakespeare's  day;  thus:  "  Whom 
do  men  say  that  I,  the  Son  of  Man,  am?  "  Matt.,  xvi,  13*.  Even  now,  per- 
haps, the  majority  would  take  the  same  liberty.  — 1)3.  his  and  mine. 
Abbott,  238.  —  99.  bass  my  trespass  =  told  in  deep  bass  tones  the  story  of 
my  crime?  —  Macb.,  Ill,  iv,  122  12(i.  —  100.  Therefore  =  that  is  the  true 
reason  why?  —  Emphatic ?— 102.  mudded.  "Any  noun  or  adjective 
(  ould  be  converted  into  a  verb  by  the  Elizabethan  authors."     Abbott,  2W. 

But  one  =  If  there  be  but  one  ?  Let  there  be  but  one  ?— 105.  poison, 
(ic.    Such  poisons,  according  to  Holt  (1719),  and  Steeveus  (1793),  were 


SCENE  III.]  THE   TEMPEST.  99 

That  are  of  suppler  joints,  follow  them  swiftly, 
And  hinder  them  from  what  this  ecstasy 
May  now  provoke  them  to. 

Adrian,  Follow,  I  pray  you.      \_Exeunt. 


believed  to  be  prepared  in  Africa.  — 108.  ecstasy.  Gr.  e/c,  ek,  out,  trraats, 
stasis,  standing.  The  word  is  metaphoric,  signifying  the  state  of  one  '  out 
of  his  head.'     See  our  Hamlet,  II,  i,  102. 

How  much,  if  anytliiug,  of  Shakespeare's  religious  belief  may  fairly  be 
inferred  from  this  remarkable  scene? 


100  THE   TEMPEST,  [ACT  IV. 


ACT  IV. 

Scene  I.     Before  Prosperous  Cell. 

Enter  Prospero,  Ferdinand,  and  Miranda. 

Prospero.   If  I  have  too  austerely  punish'd  you, 
Your  compensation  makes  amends,  for  I 
Have  given  you  here  a  third  of  mine  own  life. 
Or  that  for  which  I  live ;  who  once  again 
I  tender  to  thy  hand.     All  thy  vexations 
Were  but  my  trials  of  thy  love,  and  thou 
Hast  strangely  stood  the  test ;  here,  afore  heaven, 
I  ratify  this  my  rich  gift.     0  Ferdinand, 
Do  not  smile  at  me  that  I  boast  her  of. 


ACT  IV.  Scene  I.  3.  third.  So  the  folios.  But  why  third?  How 
make  a  three-fold  division  of  his  '  life '  ?  Holt  supposes  Prospero  and 
Miranda  to  be  two  thirds,  and  Ferdinand  the  remaining  third.  Capell 
(Furness  concurring)  thinks  the  realm,  the  daughter,  and  the  father  con- 
stitute the  three  thirds  of  the  'life.'  E.  Magnusson  {Athenp&uni,  July  26, 
1884)  is  quoted  by  Furness  to  this  effect:  "His  life's  triunity  had,  once 
ttpon  a  time,  consisted  of  his  now  departed  wife,  his  child,  and  himself," 
but  Magnusson  now  concurs  with  Capell.  Theobald,  in  March,  1728,  sug- 
gested that  the  true  reading  was  thrid,  for  third,  and  that  what  was  meant 
was  thread.  Most  subsequent  editors  have  printed  thread;  Tollett,  the 
Globe  ed.,  Wright,  and  Phillpotts  read  thrid;  Heath,  the  thread;  Bailey, 
the  end.  To  us,  *a  thread,'  however  classic  and  suggestive  of  the  three 
fatal  spinners,  seems  a  feeble  utterance  for  one  who  is  in  a  mood  to 
magnify  his  gift  to  Ferdinand.  Any  one  of  a  dozen  children  would  be  a 
thread.  Guessing  "  is  the  word :  it  is  a  deed  in  fashion"!  Shakespeare 
had  perhaps  read  in  the  Carmen  Nuptiale  of  Catullus,  Virginitas  nun 
tola  tua  est ;  ex  parte  parentum  e,st :  Tertia  pai's  patrl  data,  pars 
data  tertia  matri,  Tertia  sola  tua  est,  Maidenhood  is  not  all  thine: 
it  partly  belongs  to  thy  parents ;  a  third  part  given  to  father,  a  third 
part  to  mother,  a  third  is  thine  alone.  Here  are  three,  Prospero,  Miranda, 
Ferdinand :  they  shall  share  equally  in  her  who  is  '  my  life.'  For  twelve 
years  or  more  (see  I,  ii,  16,  17,  and  King  John,  HI,  iv,  104)  that  'life '  had 
belonged  to  tivo,  father  and  daughter;  now  it  shall  be  parted  among  three. 
—  Shakes,  may  combine  several  meanings  in  this  'third.' — 7.  afore. 
Rom.,  ix,  23.  —  9.  boast  her  of  =  boast  of  her?  — Keightley  reads  boast 
of  her,  and  Furness  approves.  We  follow  the  1st  folio.  All  the  other 
folios  and  all  the  editors  read  boast  her  off;  a  reading,  says  Furness, 
*'  which  somehow  carries  with  it  the  image  of  an  auctioneer's  exaggeration 
and  volubility,*  which  is,  as  Sydney  Smith  would  say,  '  intinitely  distress- 


SCENE  I.]  THE   TEMPEST.  101 

For  thou  shalt  find  she  will  outstrip  all  praise,  10 

And  make  it  halt  behind  her.  :   ,    ^  .  . .,     .  ,      * 

Ferdinand.  I  do'^bflife^eUt,'  ,        ,,.\;' 

Against  an  oracle.  ,   ,    ^  ,,>,,-.>>>    ^ 

Frospero.   Then,  as  my  gift  an*d  ttiiiief  o^ii  .acquisiiibti ;  ; '- 
Worthily  purchased,  take  my  daugmerVbut 
If  thou  dost  break  her  virgin-knot  before 
All  sanctimonious  ceremonies  may 
With  full  and  holy  rite  be  minister'd, 
No  sweet  aspersion  shall  the  heavens  let  fall 
To  make  this  contract  grow ;  but  barren  hate, 
Sour-eyed  disdain,  and  discord  shall  bestrew  20 

The  union  —  with  weeds  so  loathly 
That  you  shall  hate  it  both :  therefore  take  heed, 
As  Hymen's  lamps  shall  light  you. 

Ferdinand.  As  I  hope 

Por  quiet  days,  fair  issue,  and  long  life, 
With  such  love  as  'tis  now,  the  strongest  suggestion 
Our  worser  genius  can,  shall  never  melt 
Mine^onor  into  lust,  to  take  away 

inff.'  "  —  11.  halt.  Mer.  of  Yen.,  Ill,  ii,  129;  Wint.  T.,Y,  iii,  52, 53.  — 13. 
gift.  The  folios  have  guest.  Rowe  (1709)  and  all  subsequent  editors  read 
gift.  Any  good  reason  for  retaining  guest?  — 15.  virgin-knot  =  maiden 
zone  or  belt.  This  girdle  was  unclasped  by  the  husband  at  the  wedding. 
Prospero's  care!  He  is  both  father  and  mother  to  her;  she  so  young, 
motherless,  and  loving,  like  Mildred  in  Browning's  Blot  in  the  'Scutcheon^ 
II,  3()1,  362.  — 16.  sanctimonious.  Whence  originates  the  modern  un- 
favorable sense? — 18.  aspersion.  Lat.  ad,  to;  spargSre,  to  scatter; 
asperg^re,  to  sprinkle ;  aspersio,  sprinkling.  Any  allusion  to  sprinkling 
with  '  holy. water'?  —  Whence  the  present  ill  use  of  the  word? — 21.  The 
union  of  your  bed  with  weeds  so  loathly,  etc.  Is  this  the  order 
of  ideas:  shall  bestrew  the  union  of  your  bed  with  so  loathly  [i.e.  disgust- 
ing, loathsome]  weeds?  —  22.  That  you  shall  hate  it  both  =  that  both 
of  you  shall  hate  it?— 23.  Hymen's  lamps.  Elze  shows  that  'lamjjs' 
of  the  folio  should  be  *  lamp.'  See  line  97.  Furness  approves  the  correc- 
tion. It  seems,  however,  to  be  unimportant.  — Hymen  was  the  handsome 
youthful  god  of  the  marriage  ceremony,  not  of  married  life.  He  is  son  of 
Apollo,  carries  in  his  hand  a  bridal  torch.  See  in  our  Masterpieces,  note, 
p.  78.-25.  as  'tis  now,  the  murkiest  den.  A.  S.  mure,  dark ;  related 
to  /aeAa?,  melas,  black.—  26.  The  most  opportune  place,  the  strong'st, 
etc.  Shakes,  twice  uses  opportune.  He  accents  the  2d  syl.  —  27.  worser. 
Used  by  Shakes.  17  times.  —  Abbott,  11.  —  genius.  Shakes,  seems  to 
recognize  two  'geniuses,'  a  guardian  angel,  and  an  evil  tempter.  **In 
mediaeval  theology,  the  rational  soul  is  an  angel,  the  lowest  in  the 
hierarchy  for  being  clothed  for  a  time  in  the  perishing  vesture  of  the 
body.  But  it  is  not  necessarily  an  angel  of  light."  Edmburgh  Review, 
July,  1869,  p.  98.  — See  our  ed.  of  Jul.  Cxs.,  II,  i,  66;  our  Macb.,  Ill,  i,  55. 
—  can.  Ellipsis  ?  Hamlet,  ly,  vii,  83 ;  Abbott,  307.  —  melt.  Timon  of  A., 
IV,  iii,  365—367.-28.  lust,  to  take  away.    Supply  *  so  as  '  before  *  to 


102  THE  TEMPEST.  [ACT  IV. 

The  edge  of  that  day's  celebration 

When  I  shall  tliink^  or  Phoebus'  steeds  are  founder'd,         30 

Or  night  kept  chain' d  below. 

Frospero.  ^      Fairly  spoke. 

Sit  tb^n  and  talk  with  her ;  she  is  thine  own.  — 
What,  Ariel !  my  industrious  servant,  Ariel ! 

Enter  Ariel. 

Ariel.   What  would  my  potent  master  ?  here  I  am. 
Prospero,   Thou  and  thy  meaner  fellows  your  last  service 
Did  worthily  perform,  and  I  must  use  you 
In  such  another  trick.     Go  bring  the  rabble, 
O'er  whom  I  give  thee  power,  here  to  this  place. 
Incite  them  to  quick  motion,  for  I  must 
Bestow  upon  the  eyes  of  this  young  couple  40 

Some  vanity  of  mine  art ;  it  is  my  promise, 
And  they  expect  it  from  me. 

Ariel.  Presently  ?  ^^ 

Prospero.   Ay,  with  a  twink. 
Ariel.         Before  you  can  say  '  come '  and  ^  go,' 
And  breathe  twice,  and  cry  '  so,  so,' 
Each  one,  tripping  on  his  toe, 
Will  be  here  with  mop  and  mow.  — 
Do  you  love  me,  master  ?  no  ? 
Prospero.    Dearly,  my  delicate  Ariel.     Do  not  approach 
Till  thou  dost  hear  me  call. 

Ariel.  Well,  I  conceive.  \_Exit. 


take '  ?  —  29.  The  edge  of  that  day's  celebration  =  the  keen  enjoy- 
ment of  the  celebration  of  our  wedding-day  [Jephson]  ?  The  -ion  in  cele- 
bration is  resolved  in  scanning  into  two  syllables.  —  30.  or  =  either?  — 
Phoebus'  =  the  sun-god's.  See  our  Hamlet^  III,  ii,  138.  —  f ounder'd. 
**  The  signe  to  know  it  [foundering  of  horses]  is,  the  horse  cannot  go,  but 
will  stand  cripling  with  al  his  foure  legs  together."  Topsell's  Hist,  of 
Foure-footed  Beasts,  1608,  quoted  by  Furness.  —  31.  chained.  As  the 
sun's  chariot  goes  down  in  the  west,  night's  car  ascends  in  the  east ;  both 
so  slowly  that  it  seems  as  if  the  evening's  festivities  would  never  come.  — 
spoke.  Abbott,  338.  —  37.  rabble  =  lower  spirits?  Stephano,  Trinculo, 
etc.?  —  "Not  used  slightingly."  Furness.  —  O.  I)u.  rabbelefi,  to  chatter. 
Gr.  pajSacro-eii/,  rabassciu,  to  make  a  noise.  The  suffix  -le  gives  a  frequent- 
ative force.  Skeat.  — 41.  vanity  =  illusion  [Steevens]  ?  Psalms,  xxxix,  (5 ; 
Ecclesiastes,  xii,  8.  —  42.  presently.  I,  ii,  125. — 43.  twink  =  twink- 
ling?—  A.  S.  twiccan,  to  twitch ;  twinclian,  to  twinkle ;  twink  is  nasalized 
from  twiccian.  Skeat.  —  47.  mop.  Du.  moppen^  Local  Ger.  inujff'en,  to 
sulk;  Eng.  mop  and  mope,  to  grimace. —mow.    Ill,  iii,  82;  II,  ii,  9. — 


SCENE  I.]  TBE  T^MPE&f.  103 

Frospero.   Look  thou  be  true ;  do  not  give  dalliance        51 
Too  much  the  rein :  the  strongest  oaths  are  straw 
To  the  lire  i'  the  blood. 

Ferdinand.  I  warrant  you,  sir ; 

The  white  cold  virgin  snow  upon  my  heart  — 

Frospero.  Well.  — 

Now  come,  my  Ariel !  bring  a  corollary, 
Kather  than  want  a  spirit ;  appear,  and  pertly  !  — 
No  tongue  1  all  eyes  !  be  silent.  \^Soft  music. 


Enter  Iris. 

Iris.   Ceres,  most  bounteous  lady,  thy  rich  leas  60 

Of  wheat,  rye,  barley,  vetches,  oats,  and  pease ; 
Thy  turfy  mountains,  where  live  nibbling  sheep, 
And  flat  meads  thatch'd  with  stover,  them  to  keep ; 
Thy  banks  with  pioned  and  twilled  brims, 

51.  dalliance.  A.  S.  dol,  foolish  ;_Du.  dioalen,  to  be  foolish. — 52.  rein. 
Lat.  ?'e,  back,  tenere,  to  hold;  retinere,  to  hold  back;  retinaculum,  a  hold- 
back, tether,  halter,  rein.  Fr.  rene,  bridle  strap,  rein.  Skeat,  Bracket.— 
53.  To  the  fire  i'  the  blood;  be  more  abstemious.  To  the  fire,  etc. 
So  we  speak  of  '  fetters  of  flax  to  bind  the  flame.'  Abste^nlous,  Skeat 
derives  f r.  Lat.  abs,  from,  and  obsolete  temum,  strong  dj-ink.  —  54.  Or  else 
good  night  your  vow!  Lines  23-28.-55.  The  white  cold  virgin 
snow.     Shakespeare  is  fond  of  this  imagery.     Coriolanus,  V,  iii,  64-67.  — 

56.  Abates  the  ardor  of  my  liver.  Capell  cites  from  Elyot's  Castle 
of  Health,  1610,  the  converse,  "  that  the  heat  of  the  heart  may  vanquish 
the  colde  of  the  liver."  — The  liver  was  the  supposed  seat  of  the  passions, 
particularly  love.     -4.s  You  L.  I.,   Ill,  ii,  390;   Mer.  of  Ven.,  I,  i,  «1.— 

57.  corollary  =  supernumerary,  surplus,  an  extra.  Gr.  KopMvrj,  korone, 
curved  end  of  a  bow;  Welsh  C7'wn,  round;  Lat.  corona,  garland,  crown; 
corolla,  little  crown;  corollarium,  gift  of  a  garland  besides  the  regular 
pay;  a  gratuity;  the  gift  of  an  actor  in  addition  to  his  wages.  Wore, 
Bracket,  etc.— 58.  want.  Emphatic?  — 58.  pertly.  W.  pert,  smart, 
spruce.  —  59.  silent.  In  the  presence  of  supernatural  beings  in  Shakes., 
silence  is  enjoined.  IV,  i,  124-127 ;  Macb.,  IV,  i,  70,  ''  Hear  his  speech,  but 
say  thou  nought."  —  '*  Prospero  surrounds  the  marriage  of  Ferdinand  to 
his  daughter  with  a  religious  awe.  Ferdinand  must  honor  her  as  sacred, 
and  win  her  l)y  hard  toil.  But  the  work  of  the  higher  imagination  is  not 
drudgery  —  it  is  swift  and  serviceable  among  all  the  elements  —  fire  upon 
the  topmast,  tlie  sea-nymphs  upon  the  sands,  Ceres,  the  goddess  of  earth, 
with  harvest  blessings,  in  tlie  Masque.  —  It  is  essentially  Ariel,  an  airy 
spirit  —  the  imaginative  genius  of  poetry,  but  recently  delivered  in  Eng- 
land from  long  slavery  to  Sycorax."  —  Edward  Doioden. 

60.  leas.  A.  S.  leak,  field.  — 61.  vetches.  Leguminous  plants.  In 
folio  fetckes,  still  pronounced  so  in  portions  of  England ;  the  fetckes  of 
Isaiak,  xxviii,  25,  27  ;  Ezek.,  iv,  9.  —  63.  stover.  Coarse  winter  fodder  for 
cattle?  O.  Fr.  estover,  necessaries,  provisions;  akin  probably  to  stow,  or 
to  Lat.  stare,  to  stand  ?  — 64.  pioned  and  twilled  brims.    Of  these  four 


104  THE  TEMPEST,  [ACT  IV. 

Which  spongy  April  at  thy  hest  betrims, 

To   make   cold  nymphs   chaste    crowns;    and  thy    broom 

groves, 
Whose  shadow  the  dismissed  bachelor  loves, 
Being  lass-lorn ;  thy  pole-clipt  vineyard ; 
And  thy  sea-marge,  sterile  and  rocky-hard, 
Where  thou  thyself  dost  air ;  —  the  queen  o'  the  sky,  70 

Whose  watery  arch  and  messenger  am  I, 
Bids  thee  leave  these,  and  with  her  sovereign  grace, 
Here  on  this  grass-plot,  in  this  very  place. 
To  come  and  sport.     Her  peacocks  fly  amain ; 
Approach,  j'ich  Ceres,  her  to  entertain. 

words  the  innumerable  emendations  and  explanations  are  'tedious  as  a 
king,'  'most  tolerable  and  not  to  be  endured,'  to  use  Dogberry's  happy 
phrases.  See  the  Var.  Ed.  of  Furness,  who  says,  **  We  have  simply  lost 
the  meaning  of  words  which  were  perfectly  intelligible  to  Shakespeare's 
audience.  As  agricultural  or  horticultural  terms,  '  pioned  '  and  '  twilled  ' 
will  be  some  day,  probably,  sufficiently  explained  to  enable  us  to  weave 
from  them  the  chaste  crowns  for  cold  nymphs."  With  Hudson,  Phillpotts, 
and  Deighton,  we  have  felt  inclined  to  adopt  Dr.  T.  S.  Baynes's  explana- 
tion in  the  Edinburgh  Review ^  of  October,  1872,  confirmed  as  it  seemed  to 
be  by  our  own  observation  at  Stratford  in  1882,  as  follows:  "Twilled  is 
the  very  word  to  describe  the  crowded  sedges  in  the  shallower  reaches 
of  the  Avon  as  it  winds  around  Stratford.  It  was,  indeed,  while  watching 
the  masses  of  waving  sedge  cutting  the  water  line  of  the  Avon,  not  far 
from  Stratford  Church,  that  we  first  felt  the  peculiar  force  and  signiricance 
of  the  epithet.  And  although  the  season  was  too  far  advanced  for  the 
reeds  to  be  brightened  by  the  flowers  of  the  marsh  marygold  [called  peony 
by  the  Warwickshire  peasantry],  the  plant  was  abundant  enough  to  glorify 
the  banks  in  the  early  spring.  The  whole  line,  therefore,  gives  a  vivid 
and  truthful  picture  of  what  is  most  characteristic  of  water  margins  at 
that  period  of  the  year."  Thus  far  Baynes;  but  able  botanists  deny  his 
conclusions.  See  Furness.  —  line  129;  Lycidas,  104.  —  ()5.  spongy  =  full 
of  moisture  as  a  wet  sponge?  —  (X>.  broom  groves  =  woods  overgrown 
with  genista,  pathless  woods  [Schmidt]?  —  67.  See  on  bachelerle  in  our 
Masterpieces,  p.  27. — 68.  lass-lorn.  Lass,  fem.  of  lad,  shortened  fr.  lad- 
dess  I  The  -ess  is  for  -e.s',  which  is  a  Welsh  fem.  ending.  Lorn  {lo-ren)  is 
old  past  part,  of  lose.  Skeat.  —  pole-clipt  =  clipped  as  with  shears  so  as 
to  be  trained  to  poles  [Jephson,  Delias]  ?  with  vines  twined  about  the  poles, 
embracing  the  poles  [Wright,  Phillpotts]?  with  poles  clipped  or  twined 
about,  embraced,  clasped,  by  vines  [Steevens,  Dyce,  Hudson,  Meikle- 
jolin]?  —  A.  S.  clyppan,  to  embrace;  Icel.  klippa,  to  cut,  shear  the  hair. 
The  orig.  sense  was  to  draw  tightly  together.  Skeat.  —  vineyard. 
Trisyl.  ? —  69.  sea-marge.  A.  S.  meark,  mark  ;  akin  to  Lat.  marf/o,  mar- 
gin.—  71.  Juno's  messenger  identifies  herself  with  tlie  rainbow?  Sa.NS 
Hartley  Coleridge,  "Shakespeare  manifestly  turns  the  heathen  deities  inlo 
the  elementary  powers,  resolving  Greek  anthropomorphism  into  its  lirst 
principles.  Ceres  is  the  earth."  —  73.  to  come.  Like  to  si^fer-  HI.  >• 
62?  —  74.  peacocks  draw  Juno's  car?  — amain.  A.  S.  on,  (later)  an. 
(latest)  «=^in,  with.  A.  S.  mayen,  strength.  II,  i,  180.  'Might'  and 
'main,'  like  'mop'  and  'mow,'  are  almost,  if  not  quite,  exact  equiva- 
lents. 


SCENE  I.]  THE   TEMPEST,  105 


Enter  Ceres. 

Ceres.     Hail,  many-color'd  messenger,  that  ne'er 
Dost  disobey  the  wife  of  Jupiter ; 
Who,  with  thy  saffron  wings,  upon  my  flowers 
Diffusest  honey-drops,  refreshing  showers, 
And  with  each  end  of  thy  blue  bow  dost  crown  80 

My  bosky  acres  and  my  unshrubb'd  down, 
Eich  scarf  to  my  proud  earth  !     Why  hath  thy  queen 
Summoned  me  hither,  to  this  short-grass'd  green? 

Iris.     A  contract  of  true  love  to  celebrate, 
And  some  donation  freely  to  estate 
On  the  blest  lovers. 

Ceres.  Tell  me,  heavenly  bow, 

If  Venus  or  her  son,  as  thou  dost  know. 
Do  now  attend  the  queen  ?     Since  they  did  plot 
The  means  that  dusky  D\s  my  daughter  got. 
Her  and  her  blind  boy's  scandaPd  company  90 

I  have  forsworn. 

Iris.  Of  her  society 

Be  not  afraid ;  I  met  her  deity 
Cutting  the  clouds  towards  Paphos,  and  her  son 
Dove-drawn  with  her.     Here  thought  they  to  have  done 
Some  wanton  charm  upon  this  man  and  maid. 
Whose  vows  are,  that  no  bed-right  shall  be  paid 
Till  Hymen's  torch  be  lighted :  but  in  vain ; 
Mars's  hot  minion  is  returned  again ; 
Her  waspish-headed  son  has  broke  his  arrows, 


78.  saffron.  Vergil's  ^neid,  iv,  700,  seems  in  Shakespeare's  mind. 
—  81.  bosky.  Ital.  bosco,  busk ;  fr.  Mid.  Lat.  boscus,  a  wood.  Milton  has 
'bosky  bourn,'  i.e.  woody  bourn. — do^wn  =  large  open  plain?  sandy 
hill?  —  A.S.  dii7i.—SD.  estate  =  settle ?  endow? —  Fr.  etat,  fr.  Lat.  status, 
state. — 89.  that  .  .  .  got,  etc.  =  which  obtained  my  daughter  for  Dis? 
by  which  Dis  obtained  my  daughter?  —  Dis.  Lat.  diveSf  rich.  When  S. 
wants  a  monosyl.  for  the  name,  ^ Dis'  suffices;  when  a  dissyl.,  'Pluto.* 
The  king  of  the  realm  of  shades  is  poetically  characterized  as  'dusky' ; 
just  as  in  Virgil,  atri  Ditis,  of  black  Pluto,  J^neid,  vi,  127.  —  Milton  has 
'gloomy  Dis'  in  Par.  Lost,  iv,  270.  —  93.  Paphos.  Near  Old  Paphos  on 
the  west  coast  of  Cyprus,  sea-born  Venus  (Gr.  Aphrodite)  first  floated 
ashore.  S.  has  in  mind  jEneid,  i,  415-417?  —  94.  dove-drawn.  So 
usually  represented.  Horace  makes  her  chariot  to  be  drawn  by  swans.  — 
96.  vows  are.  We  should  say  'vow  is.'  See  III,  iii,  79.  —  that  no,  etc. 
=  there  shall  be  no  consummation  of  the  union.  —  Hymen's.  Line  23.  — 
98.  minion  =  favorite.    See  our  Macb.,  I,  ii,  19.    Venus  of  course  is 


106  '  THE  TEMPEST,  [act  IV. 

Swears  he  will  shoot  no  more,  but  play  with  sparrows,      loo 
And  be  a  boy  right  out. 

Ceres.  Highest  queen  of  state, 

Great  Juno  conies  ;  I  know  her  by  her  gait. 

Enter  Juno. 

Juno,     How  does  my  bounteous  sister  ?     Go  with  me 
To  bless  this  twain,  that  they  may  prosperous  be, 
And  honor'd  in  their  issue.  [^Tliey  sing. 

Juno.     Honor  J  riches,  marriage,  blessing  ! 
Long  continuance,  and  increasing 
Hourly  joys  he  still  %qoon  you  ! 
Juno  sings  her  blessings  on  you. 
Earth^s  increase,  and  foison  plenty,  110 

Barns  and  garners  never  empty, 
Vines  with  clustering  bunches  groiving. 
Plants  with  goodly  burthen  bowing ; 
Spring  come  to  you  at  the  farthest 
In  the  very  end  of  harvest ! 
Scarcity  and  want  shall  shun  you; 
Ceres'  blessing  so  is  on  you. 

Ferdinand.     This  is  a  most  majestic  vision,  and 
Harmonious  charmingly.     May  I  be  bold 
To  think  these  spirits  ? 

Prospero.  Spirits,  which  by  mine  art  120 


meant.  — 101.  right  out  =  outright  ?  complete  ?  — 102.  gait.  It  was  ma- 
jestic. yEneid,  1,  40,  405.  Supernatural  beings  glide,  not  walk!  Par. 
Lost,  xii,  029,  030.  "  In  gliding  state  she  wins  her  easy  way."  Spoken  of 
Venus  in  Gray's  Progress  of  Poesy,  39.  — 110.  and  foison.  For  foison, 
see  II,  i,  100.  —  The  first  folio  omits  and.  Omitting  and,  Abbott  would 
make  a  trisyl.  of  in-cre-ease  !  Allen,  a  dissyl.  of  e-earth's  !  Wright  would 
make  earth's  into  earth-es,  as  moon  into  moon-es  in  Mid.  N.  Dr.,  II,  i,  7. 
Says  Furness,  "Shakespeare  always,  I  think,  makes  'increase'  an  ia))ib. 
.  .  .  Wherefore  it  seems  to  me  that  the  simplest  wav  is  to  accept  the 
and.'*  — Psalms,  Ixvii,  (5. — Following  the  example  of  Theobald,  all  sub- 
sequent editors,  except  Holt  and  Furness,  give  lines  110-117  to  Ceres.  But 
the  stage  direction,  They  sing,  would  seem  to  imply  that  all  three,  Juno, 
Iris,  and  Ceres,  all  sing. — 114.  spring,  etc.  Levit.,  xxvi,  4,  5;  Anws, 
ix,  13;  Faerie  Q.,  Ill,  vi,  42.  So  in  the  garden  of  Alcinous,  Odyssei/, 
vii,  115-125.-119.  harmonious  charmingly  ^  charmingly  harmonious 
[Hudson]?  harmonious;  charmingly!  [Holt]?  harmoniously  charming 
[Steeveus]  ?    "  Staunton  with  truth  says  that '  charmingly '  hero  imports 


SCENE  I.]  THE  TEMPEST,  107 

I  have  from  their  confines  call'd  to  enact 
My  present  fancies. 

Ferdinand,  Let  me  live  here  ever  • 

So  rare  a  wondered  father  and  a  wife 
Makes  this  place  Paradise. 

[Juno  and  Ceres  whisper,  and  send  Ins  on  employment. 

Prospero.  Sweet  now,  silence ! 

Juno  and  Ceres  whisper  seriously ; 
There's  something  else  to  do :  hush,  and  be  mute, 
Or  else  our  spell  is  marr'd. 

Ms.   You    nymphs,    calFd    Naiads,     of    the     windring 
brooks, 
With  your  sedg'd  crowns  and  ever  harmless  looks, 
Leave  your  crisp  channels,  and  on  this  green  land  130 

Answer  your  summons ;  Juno  does  command. 
Come,  temperate  nymphs,  and  help  to  celebrate 
A  contract  of  true  love  j  be  not  too  late.  — 


Enter  certain  Nymphs, 

You  sunburnt  sicklemen,  of  August  weary, 
Come  hither  from  the  furrow,  and  be  merry. 
Make  holiday ;  your  rye-straw  hats  put  on, 


ma^ricaZ/y,  not  delightfully."  Furness.  So  Meiklejohn.  — 121.  confines. 
Lat.  con,  together;  finis^  boundary;  Lat.  confines,  borders,  boundaries. 
In  Hamlet,  I,  i,  155,  confine  seems  to  mean  bound  which  must  not  be 
passed,  or  place  of  confinement.  — 123.  wise.  Some  copies  of  folio  1 
have  'wife,'  and  some  'wise.'  The  majority  prefer  'wise.'  White  says, 
*'To  read  'wife'  is  to  degrade  the  poetical  feeling  of  the  passage."  So 
it  is,  if  the  passage  merely  means  so  wonderful  a  father  plus  a  wife!  On 
the  other  hand,  if  it  means  merely  that  Prospero  is  rarely  wonderful  and 
very  wise!  what  a  paradise!  made  up  of  a  wonderful  father  and  his 
wisdom!  — Hudson  suggests  that  we  should  'extend  the  meaning'  of  'so 
rare  a  wondered '  (i.e.  'so  rarely  wonderful ')  to  wife.  So  rarely  wonder- 
ful a  father  and  so  rarely  wonderful  (and  the  word  Miranda  means  to  be 
wondered  at)  a  wife !  these  in  combination  may  well  make  a  paradise  for 
the  young  prince.  Such  extension  of  meaning  is  quite  Shakespearian. 
—  237.  mar r'd,  etc.  Line  59.  — 128.  Naiads  =  fresh  water  nymphs  ?  Gr. 
j/aeii/,  naein,  to  flow.  —  windring.  So  the  folios,  'wandering,'  *wand'- 
ring,' '  winding,' '  wiring,'  have  been  suggested.  Wright  compares  wilder- 
ness for  '  wildness,'  in  Meas.for  Meas.,  Ill,  i,  141.  We  might  add  augurers 
for  'augurs,'  Jvl.  Cass.,  II,  ii,  37.  Is  there  not  in  windring  a  notion  or 
feeling  of  intelligence  on  the  part  of  the  brooks,  as  if  they,  like  persons, 
were  directors  of  their  own  windings,  and  not  simply  passive  ?  — 130.  crisp 
Milton  has  'crisped  brooks,'  Par.  Lost,  iv,  237;  and  'crisped  shades, 
Comus,  984.  Lat.  crispuSf  curled.  The  channel  looks  curled  under  the  ripples 


108  THE   TEMPEST,  [act  IV. 

And  these  fresh  nymphs  encounter  every  one 
In  country  footing. 

Enter  certain  Reapers,  properly  habited :  they  join  ivith  the 
Nymphs  in  a  graceful  dance;  towards  the  end  whereof  Pros- 
PERO  starts  suddenly,  and  speaks;  after  ivhich,  to  a  strange, 
hollow,  and  confused  noise,  they  heavily  vanish. 

Prospero.  [Aside']  I  had  forgot  that  foul  conspiracy 
Of  the  beast  Caliban  and  his  confederates  140 

Against  my  life  ;  the  minute  of  their  plot 
Is  almost  come.  —  [_To  the  Spirits']    Well  done  !    Avoid;  no 
more ! 

Ferdinand.  This  is  strange ;  your  father's  in  some  passion 
That  works  him  strongly. 

Miranda.  Never  till  this  day 

Saw  I  him  touch'd  with  anger  so  distempered. 

Prospero.  You  do  look,  my  son,  in  a  mov'd  sort, 
As  if  you  were  dismayed ;  be  cheerful,  sir. 
Our  revels  now  are  ended.     These  our  actors, 
As  I  foretold  you,  were  all  spirits,  and 

Are  melted  into  air,  into  thin  air ;  150 

And,  like  the  baseless  fabric  of  this  vision, 
The  cloud-capp'd  towers,  the  gorgeous  palaces, 
The  solemn  temples,  the  great  globe  itself, 
Yea,  all  which  it  inherit,  shall  dissolve, 

through  which  the  sunshine  makes  the  lights  and  shadows  wind  and  flit 
on  the  sandy  bottom.  — 138.  footing.     I,  ii,  377. 

142.  Avoid  =  vacate  (this  place)?  —  Fr.  vider  la  maison.  —  O.  Fr. 
avoider,  to  empty ;  fr.  Lat.  ex^  out ;  viduare,  to  empty.  A^ioid  was  the 
common  phrase  in  bidding  a  spirit  begone.  — 145.  distemper'd.  Hamlet^ 
III,  ii,  280;  Abbott,  439. —Why  distempered?  From  the  sense  of  all  in- 
juries, past  and  present,  surging  upon  his  mind  at  once  [Phillpotts]  ?  — 
146.  It  is  hard  to  believe  that  Shakes,  wrote  this  line  as  it  stands.  Ab- 
bott's suggestion  (483)  is  plausible,  viz.:  "  Perhaps  aware  of  Ferdinand's 
comment  on  his  emotion,  'your  father's  in  some  passion,'  Prospero  turns 
to  Ferdinand  and  says,  *  it  is  you  who  are  moved,'  in 

'  You  I  do  16ok  I  ray  son  ]  in  a  |  mov'd  86rt.'  " 

Might  we  not  still  further  avoid  the  awkwardness  by  printing  *  moved '  in 
place  of  mov^d  ?  thus : 

"  You  1  do  16ok  I  my  son  |  in  a  m6v  |  ed  sort." 

—  sort.  See  II,  i,  100;  our  Jul.  Cses.,  I,  ii,  201.  — 149.  foretold.  Line 
120.  — 150.  into  thin  air.  A  recollection  of  in  tenuis  auras,  into  thin  air, 
^iieid,  ii,  791.  — 154.  inherit.    Furuess  thinks  it  probable  that  it  ^ra^an- 


SCENE  I.]  THE   TEMPEST.  109 

And,  like  this  insubstantial  pageant  faded, 

Leave  not  a  rack  behind.     We  are  such  stuff 

As  dreams  are  made  on,  and  our  little  life 

Is  rounded  with  a  sleep.  —  Sir,  I  am  vex'd ; 

Bear  with  my  weakness  ;  my  old  brain  is  troubled. 

Be  not  disturbed  with  my  infirmity  :  160 

If  you  be  pleas'd,  retire  into  my  cell 

And  there  repose ;  a  turn  or  two  I'll  walk, 

To  still  my  beating  mind. 

Ferdinand.   Miranda,      We  wish   your  peace.      \_Exeunt. 

Frospero.  Come  with  a  thought.    I  thank  thee,  Ariel :  come ! 

Enter  Ariel. 

Ariel.   Thy  thoughts  I  cleave  to.     What's  thy  pleasure  ? 

Frospero.  Spirit, 

We  must  prepare  to  meet  with  Caliban. 

Ariel.  Ay,  my  commander ;  when  I  presented  Ceres, 
I  thought  to  have  told  thee  of  it,  but  I  fear'd 
Lest  I  might  anger  thee.  169 

ing  globe)  is  the  subject,  and  which  (meaning  which  things)  the  object,  of 
inherit,  the  s,  needed  to  convert  *  inherit '  into  inherits,  being  present  in 
the  s  of  the  succeeding  '  shall.'  Test !  —  II,  ii,  162.  — 155.  pageant  =  great 
and  splendid  show?  Our  Me7\  of  Ven.,  I,  i,  11;  Furness's  The  Tempest, 
p.  212. — 156.  rack  =  scudding  or  drifting  clouds?  Icel.  rek,  drift,  mo- 
tion ;  sky  rek,  drifting  clouds.  The  orig.  sense  of  wreck  or  wrack  is  *  that 
which  is  drifted  or  driven  ashore.'  Skeat.  Our  Hamlet,  II,  ii,  470.  So  in 
Moore's  Fire  Worshippers, 

•*  The  day  is  lowering  :  stilly  black 
Sleeps  the  grim  wave,  while  heaven's  rack, 
Dispersed  and  wild,  'twixt  earth  and  sky 
Hangs  like  a  shattered  canopy." 

Shakes,  seems  to  anticipate  the  deductions  of  science.  Langley,  in  his  The 
New  Astronomy,  tells  how  universes  come  and  go  like  clouds  successively 
forming  and  dissolving.  Psalms,  cii,  25,  26;  2  Peter,  iii,  10;  Rev.,  xx,  11 ; 
xxi,  1.  — 157.  on.  I,  ii,  87.  *'  Something  could  be  said  in  favor  of  its  re- 
taining its  ordinary  meaning  of  upon."  Furness.  — 158.  rounded  = 
completed,  finished  off  as  with  a  crown  [Wright]  ?  rounded  off  with  (the 
sleep  of  death)  [Hudson]  ?  —  "  Our  birth  is  but  a  sleep  and  a  forgetting." 
Wordsworth.  —  Nos  petites  vies  sont  les  isles  dn  soynmeil.  Barmesteter. 
Hamlet,  UI,  i,  60-82;  Jul.  Cses.,  V,  iii,  24,  25;  Lear,  V,  iii,  175;  Richard 
II,  III,  ii,  160,  161.  —  This  magnificent  passage,  lines  150-158,  is  sometimes 
absurdly  quoted  to  prove  Shakes,  an  atheist ;  e.g.  by  Birch,  Philosophy 
and  Religion  of  Shakespeare,  1848;  Douglas  Campbell,  Puritans  in  Eng- 
land, Holland,  and  America,  1894;  but  see  I,  ii,  159;  III,  iii,  72-82. 

164.  with  a  thought.  "  With  a  thought,  seven  of  the  eleven  I  paid." 
1  Henry  IV,  II,  iv,  202,  203.  — 166.  meet  with  =  encounter,  oppose  [Hud- 
son,   Wright,    Deighton] ?  —  167.    presented  =  represented,    played?  — 


110  THE   TEMPEST,  [act  IV. 

Prospero.  Say  again,  where  didst  thou  leave  these  varlets  ? 

Ariel.  I  told  you,  sir,  they  were  red-hot  with  drinking; 
So  full  of  valor  that  they  smote  the  air 
For  breathing  in  their  faces,  beat  the  ground 
For  kissing  of  their  feet,  yet  always  bending 
Towards  their  project.     Then  I  beat  my  tabor. 
At  which,  like  unback'd  colts,  they  prick'd  their  ears, 
Advanced  their  eyelids,  lifted  up  their  noses 
As  they  smelt  music ;  so  I  charm'd  their  ears 
That,  calf-like,  they  my  lowing  followed  through 
Tooth'd  briers,  sharp  furzes,  pricking  gorse,  and  thorns,    180 
Which  entered  their  frail  shins :  at  last  I  left  them 
I'  the  filthy  mantled  pool  beyond  your  cell, 
There  dancing  up  to  the  chins,  that  the  foul  lake 
O'erstunk  their  feet. 

Prospero,  This  was  well  done,  my  bird. 

Thy  shape  invisible  retain  thou  still ; 
The  trumpery  in  my  house,  go  bring  it  hither. 
For  stale  to  catch  these  thieves. 

Ariel,  I  go,  I  go.  \_Eocit. 

Prospero.   A  devil,  a  born  devil,  on  whose  nature 
Nurture  can  never  stick ;  on  whom  my  pains. 
Humanely  taken,  all,  all  lost,  quite  lost ;  190 

And  as  with  age  his  body  uglier  grows. 
So  his  mind  cankers.     I  will  plague  them  all, 
Even  to  roaring.  — 

Enter  Ariel,  loaden  with  glistering  apparel,  etc. 
Come  hang  them  on  this  line. 

174.  kissing  of.  I,  ii,  100. —  175.  tabor.  Ill,  ii,  119.  — 176.  unback'd. 
Mer.  of  Yen.,  V,  i,  71.  — 177.  advanc'd.  I,  ii,  407.-180.  tooth'd  = 
dentate  ?  —  furzes  =  thorny  evergreen  with  yellow  flowers  ?  —  gorse  = 
thick  prickly  shrub  akin  to  furze?  —  18'J.  mantled  =  scum-covered ?  — 
O.  Fr.  mantel,  later  manteau,  a  cloak ;  Lat.  inantellum,  a  napkin ;  also, 
as  a  means  of  covering,  a  cloak.  The  orig.  sense  seems  to  be  '  covering.' 
Compare  A.  S.  mentel,  a  mantle.  Skeat.  — 184.  bird.  *  Chick,'  V,  i,  317. 
—  186.  trumpery.  Fr.  trompe,  a  trumpet;  tromper,  to  deceive;  trom- 
perie,  craft,  wily  fraud.  Skeat.  The  orig.  sense  was  to  play  on  the 
trump,  or  trumpet.  Littr^.  Tromper,  properly  to  play  the  horn,  alluding 
to  quacks  and  mountebanks.  Bracket.  — 187.  stale  =  decov,  snare?  — 
A.  S.  stalu,  theft;  stelan,  to  steal.  Probably  'steal*  meant  ^to  put  by.' 
Skeat.  Autolycus,  in  Winter's  T. ,  was  *  a  snapper-up  of  unconsidered  trifles.' 
193.  glistering.  Shakes,  and  Milton  do  not  use  glisten.  —  line  = 
linden  or  lime-tree?  clothes-line?  The  players  used  to  stretch  up  a 
clothes-line  on  the  stage ;  and  Knight,  Dyce,  Staunton,  and  others  think 


SCENE  I.J  THE  TEMPESZ  111 

Prospero  and  Ariel  remain  invisible.     Enter  Caliban, 
Stephano,  and  Trinculo,  oil  wet 

Caliban.   Pray  you,  tread  softly,  that  the  blind  mole  may 
not 
Hear  a  foot  fall ;  we  now  are  near  his  cell. 

Stephano.   Monster,  your  fairy,  which  you  say  is  a  harm- 
less fairy,  has  done  little  better  than  played  the  Jack  with  us. 

Trinculo,    Monster,  I  do  smell  all  horse  —  at  which 
My  nose  is  in  great  indignation. 

Stephano.    So  is   mine. — Do  you  hear,  monster?     If  I 
should  take  a  displeasure  against  you,  look  you,  — 

Trinculo.   Thou  wert  but  a  lost  monster.  200 

Caliban.    Good  my  lord,  give  me  thy  favor  still. 
Be  patient,  for  the  prize  I'll  bring  thee  to 
Shall  hoodwink  this  mischance  ;  therefore  speak  softly. 
All's  hush'd  as  midnight  yet. 

Trinculo.   Aj,  but  to  lose  our  bottles  in  the  pool,  — 

Stephano.   There  is  not  only  disgrace  and  dishonor    in 
that,  monster,  but  an  infinite  loss. 

Trinculo.  That's  more  to  me  than  my  wetting ;  yet  this 
is  your  harmless  fairy,  monster. 

Stephano.   1  will  fetch  off  my  bottle,  though  I  be  o'er  ears 
for  my  labor.  211 

CalibaTi.   Prithee,  my  king,  be  quiet.     Seest  thou  here, 
This  is  the  mouth  o'  the  cell ;  no  noise,  and  enter. 
Do  that  good  mischief  which  may  make  this  island 
Thine  own  for  ever,  and  I,  thy  Caliban, 
For  aye  thy  f oot-licker. 

Stephano,    Give  me  thy  hand.     I  do  begin  to  have  bloody 
thoughts. 

they  were  right  in  so  doing,  while  Hunter,  Wright,  Brae,  Rolfe,  insist  that 
a  line-tree  is  meant.  The  battle  is  still  on,  and,  like  Grant,  they  ''will 
fight  it  out  on  this  line  if  it  takes  all  summer."  — 194.  blind  mole  = 
Prospero?  ellipsis  of  even?  —  Moles  were  supposed  blind,  but  with  hearing 
preternaturally  acute.  — 197.  Jack  =  jack  o'  lantern,  will  o'  the  wisp, 
ignis  fat uus  that  leads  into  the  bogs?  the  knave  (with  an  allusion  to 
cards)  ?  II,  ii,  6.  —  201.  Good  my  lord.  In  such  expressions  *  my  lord ' 
*  my  liege,'  etc.,  seem  compound  nouns,  like  Fr.  monsieur ,  Du.  mynheer. 
See  our  Jul.  Cses.,  II,  i,  255;  our  Hamlet,  I,  ii,  50.  —  Abbott,  484,  thinks 
this  '  good  '  a  dissyl.,  as  if  Caliban  had  said  Goo-dod  !  —  203.  hoodvFink  = 
blindfold  ?  conceal  ?  impose  upon  ?  —  See  our  Hamlet,  III,  iv,  64 ;  our  MaC' 
heth,  IV,  iii,  72. — 215.  1.  Like  'I'  in  *  between  you  and  /,'  Mer.  of  Fen., 
Ill,  ii,  313?  or  is  /  the  subject  of  will  he,  understood?     Abbott,  209.— 


112^  THE   TEMPEST.  [act  IV. 

Trinculo.  0  King  Stephano !  0  peer !  O  worthy  Ste- 
phano !  look  what  a  wardrobe  here  is  for  thee  !  220 

Caliban.   Let  it  alone,  thou  fool ;  it  is  but  trash. 

Trinculo.  0,  ho,  monster!  we  know  what  belongs  to  a 
frippery.  —  0  King  Stephano ! 

Stephano.  Put  off  that  gown,  Trinculo  ;  by  this  hand !  I'll 
have  that  gown. 

Trinculo.   Thy  grace  shall  have  it. 

Caliban.   The   dropsy   drown  this   fool!     What  do  you 
mean, 
To  dote  thus  on  such  luggage  ?     Let' s  alone, 
And  do  the  murther  first ;  if  he  awake, 

From  toe  to  crown  he'll  fill  our  skins  with  pinches,  230 

Make  us  strange  stuff. 

Stephano.  Be  you  quiet,  monster.  —  Mistress  line,  is  not 
this  my  jerkin  ?  Now  is  the  jerkin  under  the  line ;  now, 
jerkin,  you  are  like  to  lose  your  hair,  and  prove  a  bald 
jerkin. 

Trinculo.  Do,  do;  we  steal  by  line  and  level,  an't  like 
your  grace. 

Stephano.  I  thank  thee  for  that  jest;  here^s  a  garment 
for't :  wit  shall  not  go  unrewarded  while  I  am  king  of  this 
country.  '  Steal  by  line  and  level '  is  an  excellent  pass  of 
pate ;  there's  another  garment  f or't.  240 

Trinculo.  Monster,  come,  put  some  lime  upon  your  fingers, 
and  away  with  the  rest. 

220.  wardrobe.  As  will  be  seen  by  the  version  in  Percy's  ReJiques,  the 
'  wardrobe  '  is  especially  prominent  in  the  old  ballad  beginning  **  King 
Stephen  was  a  worthy  peer."  — 221.  trash.  See  note  on  I,  ii,  81.— 
222.  frippery  =  old-clothes  shop?  —  Fr.  f riper ^  to  crnmple  ;  wear  ont; 
devonr ;  fripe,  a  rag,  scrap ;  frlperie,  trifles,  rags, '  old-clo'.'  —  224.  by  this 
hand!  Ill,  ii,  47.-228.  alone  =  yon  and  me  withont  Trinculo.  Begin- 
ning with  Theobald,  many  editors  read,  "Let's  along";  some,  with  Col- 
lier, **Let't  alone";  Hanmer,  'Let  it  alone.' —  232.  line.  See  on  this 
word  in  line  193.  —  233.  jerkin  =  doublet  ?  jacket  ?  —  Du.jurk,  a  frock.  — 
234.  hair.  *  Crossing  the  line  '  [i.e.  equator]  ?  Sailors  were  liable  to  lose 
their  hair  from  fever,  or  by  tricks  played  on  them.  Mnch  learning  has 
been  expended  in  explaining  the  puns  of  the  drunken  butler  and  the  pr(»- 
fessional  jester.  Clothes-line,  equinoctial  line,  plumb-line,  hangman's 
line,  and  even  hair  line,  as  if  the  rope  were  made  of  hair  (which  a  cockney 
would  call  'air,  and  Mr.  Brae  says  clothes  were  hung  out  to  be  aired—  (dr 
line  therefore!)  —  each  of  these  offers  itself,  or  is  pressed  into  service,  "  as 
who  should  say,  *  And  you  will  not  have  me,  choose !  *  "  —  2;>5.  by  line  and 
level;  i.e.  scientitically?  — 23!).  pass  of  pate  =  thrust  or  sally  of  witj 
Fass  is  a  fencing  term  ;  pate,  slang  for  '  head.'  See  our  Hamlet,  II,  ii,  557. 
—  241.  lime  =  bird-lime.    See  on  limed,  in  our  Hamlet,  III,  iii,  08.— 


SCENE  I.]  THE  TEMPEST,  113 

Caliban.   I  will  have  none  on't ;  we  shall  lose  our  time, 
And  all  be  turn'd  to  barnacles,  or  to  apes 
With  foreheads  villanous  low. 

Stephano.  Monster,  lay  to  your  fingers ;  help  to  bear  this 
away  where  my  hogshead  of  wine  is,  or  I'll  turn  you  out  of 
my  kingdom :  go  to,  carry  this. 

Trmculo,   And  this. 

Stephano,   Ay,  and  this.  250 

A  noise  of  hunters  heard.  Enters  divers  Spirits,  in  shape  of 
dogs  and  hounds,  and  hunt  them  about,  Prospero  and  Ariel 
setting  them  on, 

Prospero.   Hey,  Mountain,  hey! 
•  Ai'iel    Silver !  there  it  goes,  Silver  ! 
Prospero.  Fury,  Fury  !  there.  Tyrant,  there !  hark,  hark  !  — 
[^Caliban,  Stephano,  and  Trinculo  are  driven  out. 
Go  charge  my  goblins  that  they  grind  their  joints. 
With  dry  convulsions,  shorten  up  their  sinews 
With  aged  cramps,  and  more  pinch-spotted  make  them 
Than  pard  or  cat  o'  mountain. 

Ariel,  Hark,  they  roar  ! 


244.  barnacles  =  shell-fish  growing  on  timber  in  water  ?  geese  fabled  to 
have  been  evolved  from  shell-fish  growing  on  trees  and  falling  into  the 
water?  —  Max  Miiller  {Science  of  Lang.,  2d  series,  Am.  ed.,  p.  552  et  seq.) 
thinks  the  word  to  be  derived  like  'Barney'  from  Hiherniay  Ireland  I 
Rolfe  quotes  from  Marston's  Malcontent,  III,  i, 

"  Be  like  your  Scotch  barnacle,  now  a  block, 
Instantly  a  worm,  and  presently  a  great  goose. *^ 

In  Butler's  Hudihras,  we  read 

"  As  barnacles  turn  Soland  geese 
In  th'  islands  of  the  Orcades." 

—  Barnacles  or  geese?  that's  the  question! — 245.  foreheads,  etc.  Is  it 
clear  that  Shakes,  liked  high  foreheads?  Two  Gent,  of  Fen.,  IV,  iv,  186; 
Ant.  and  Cleop.,  Ill,  iii,  36,  37;  Chaucer's  ProL,  154,  155;  Faerie  Q.,  II, 
iii,  34.  —  villanous.    In  Shakes,  adjectives  are  freely  used  as  adverbs. 

Abbott,!.  — 2^.  go  to  =  hush  up  ?  come  ?  goto ?  — Our  Mer.  of  Ven.,  I, 

iii,  105.  — 254.  grind  their  joints  with  dry,  etc.  "  The  mucilage  some- 
times gets  dried  out  of  the  joints  ...  so  as  to  cause  a  creaking  or  grating 
sound.  .  .  .  Of  course  the  effect  is  very  painful."  Hudson.  —  255.  aged 
=  huge  [Hudson]  ?  such  as  afflict  the  old  [Wright,  Deighton,  etc.]  ?  —  I,  ii, 
367.  —  256.  pard  =  panther  ?  Leopard  (leo-pard)  is  lion  pard.  See  our 
As  You  Like  It,  II,  vii,  150. —cat  o'  mountain  =  catamount ?  wild 


114  THE   TEMPEST,  [ACT  IV.  SCENE  I. 

Pwspero.   Let  them  be  hunted  soundly.     At  this  hour 
Lies  at  my  mercy  all  mine  enemies ; 

Shortly  shall  all  my  labors  end,  and  thou  260 

Shalt  have  the  air  at  freedom.     For  a  little 
Follow,  and  do  me  service.  [_Exeiint. 

cat?  ounce ?  puma ?  — iJ/ic?.  No  Dr.,  II,  ii,  30.  — 259.  lies.  See  on  cares, 
I,  i,  16. 

In  this  scene,  note  the  Masque  in  rhyme,  lines  60-138.  Such  pieces, 
with  dancing,  singing,  splendid  scenery,  exquisite  music,  and  with  high- 
born gentlemen  and  ladies  for  actors,  were  very  fashionable  in  the  reigns 
of  Elizabeth,  James,  and  the  first  Charles.  Some  have  supposed  that  this 
was  intended  for  presentation  at  the  marriage  of  the  Earl  of  Essex  and 
Lady  Frances  Howard  in  1611. 

**  Darwin  claims  for  the  bonnet-monkey  'the  forehead  which  gives  to 
man  his  noble  and  intellectual  appearance  ' ;  and  it  is  obvious  that  it  was 
not  wanting  in  Caliban,  for  when  he  discovers  the  true  quality  of  the 
drunken  fools  he  has  mistaken  for  gods,  his  remonstrance  is,  '  we  shall 
all  be  turned  to  apes  with  foreheiuls  villanous  low.'  .  .  .  Caliban  is  ndt 
a  brutalized,  ])ut  a  natural  brute  mind.  He  is  a  being  in  whom  the  moral 
instincts  of  man  have  no  part ;  but  also  in  whom  the  degradation  of 
savage  humanity  is  equally  Avanling.  He  is  a  novel  anthropoid  of  a  high 
type,  — such  as  on  the  hypothesis  of  evolution  must  have  existed  inter- 
mediately between  the  ape  and  man,  —  in  whom  some  spark  of  rational 
intelligence  has  been  enkindled,  under  the  tutorship  of  one  who  has  al- 
ready mastered  the  secrets  of  nature.  .  .  .  Caliban  seems  indeed  the 
half-human  link  between  the  brute  and  man."  —  Dr.  Daniel  Wilson's 
Caliban:  the  Missiiig  Linky  1873. 


ACT  V.  SCENE  I.]  THE   TEMPEST.  115 


ACT  V. 
Scene  I,    Before  the  Cell  of  Prospero. 

Enter  Prospero  in  Jiis  magic  robes,  and  Ariel. 

Prospero.   Now  does  my  project  gather  to  a  head; 
My  charms  crack  not,  my  spirits  obey,  and  Time 
Goes  upright  with  his  carriage.     How's  the  day  ? 

Ainel.     On  the  sixth  hour ;  at  which  time,  my  lord, 
You  said  our  work  should  cease. 

Prospero,  I  did  say  so. 

When  first  I  rais'd  the  tempest.     Say,  my  spirit, 
How  fares  the  king  and's  followers  ? 

Ariel  '  Confin'd  together 

In  the  same  fashion  as  you  gave  in  charge, 
Just  as  you  left  them ;  all  prisoners,  sir. 
In  the  line-grove  which  weather-fends  your  cell :  10 

They  cannot  budge  till  your  release.     The  king, 
His  brother,  and  yours,  abide  all  three  distracted, 
And  the  remainder  mourning  over  them. 
Brimful  of  sorrow  and  dismay ;  but  chiefly 


ACT  V.  Scene  I.  1.  my  project,  etc.  "  Prosperous  departure  from 
the  island  is  the  ahandoning  by  Shakespeare  of  the  theatre,  the  scene  of 
his  marvellous  works :  *  Graves  at  my  command  Have  waked  their 
sleepers,  oped,  and  let  them  forth  By  my  so  potent  art/  Henceforth 
Prospero  is  but  a  man ;  no  longer  a  great  enchanter.  He  returns  to  the 
dukedom  he  had  lost  in  Stratford-upon-Avon,  and  will  pay  no  tribute 
henceforth  to  any  Alonzo  or  Lucy  of  them  all."  Dowden.  —  2.  crack  not 
=  are  without  a  flaw  [Wright]  ?  break  not  (as  magic  bands)  [AUenl  ?  —  3. 
carriage  =  chariot  ?  load  (under  which,  Time,  as  an  old  man,  bends) 
[Warburton]?  —  In  Hamlet^  V,  ii,  149,  'carriages'  are  sword-straps;  in 
Acts,  xxi,  15,  luggage  ;  in  Mer?^  Wives  of  W.,  H,  ii,  155,  it  is  that  which  is 
carried  (a  bag  of  money).  —  9.  To  make  this  line  metrical,  Abbott,  484, 
would  divide  *  all '  into  two  syllables  (a-11) ,  and  squeeze  '  prisoners '  into 
'  pris'ners ' !  Reed  would  transpose  sir  to  follow  them.  — 10.  line-grove, 
rv,  i,  193. —Tveather-f ends,  i^enc?  =  to  ward  off .  Shortened  from  obs. 
fendere,  to  strike.  Skeat.  — 11.^  budge.  Fr.  houger,  to  stir;  fr«  Lat. 
oullicaref  frequentative  of  bulbirct  to  boil ;  Ital.  buHcaref  to  bubble  up. 


116  THE   TEMPEST,  [act  V. 

Him  that  you  term'd,  sir,  the  good  old  lord,  Gonzalo : 
His  tears  run  down  his  beard,  like  winter's  drops 
From  eaves  of  reeds.     Your  charm  so  strongly  works  'em 
That  if  you  now  beheld  them,  your  affections 
Would  become  tender. 

Prospero.  Dost  thou  think  so,  spirit  ? 

Ariel.     Mine  would,  sir,  were  I  human. 

Prospero.  And  mine  shall. 

Hast  thou,  which  art  but  air,  a  touch,  a  feeling  21 

Of  their  afflictions,  and  shall  not  myself, 
One  of  their  kind,  that  relish  all  as  sharply 
Passion  as  they,  be  kindlier  mov'd  than  thou  art  ? 
Though  with  their  high  wrongs  I  am  struck  to  the  quick, 
Yet  with  my  nobler  reason  'gainst  my  fury 
Do  I  take  part.     The  rarer  action  is 
In  virtue  than  in  vengeance ;  they  being  penitent, 
The  sole  drift  of  my  purpose  doth  extend 
Not  a  frown  further.     Go  release  them,  Ariel ;  30 

My  charms  I'll  break,  their  senses  I'll  restore, 
And  they  shall  be  thepiselves. 

Ariel.  I'll  fetch  them,  sir.       [Exit. 

Prospero.     Ye  elves  of  hills,  brooks,  standing  lakes,  and 
groves. 
And  ye  that  on  the  sands  with  printless  foot 
Do  chase  the  ebbing  Neptune,  and  do  fly  him  35 

When  he  comes  back ;  you  demi-puppets  that 
By  moonshine  do  the  green  sour  ringlets  make, 

Bracket.  — 15.  him  =  he  [Furness]  ?  —  Him  is  often  put  for  *  he '  by 
'attraction.'  Abbott,  208.  Here,  according  to  Abbott,  the  relative  to 
which  'him'  is  attracted,  is  that.  —  May  we  supjily,  mentally,  'I  refer 
especially  to,'  before  him?  —  23.  relish  all  as  sharply,  Passion  as 
they  =  relish  all  passion  as  sharply  as  they  do?  or  relish  passion  all  (i.e. 
full)  as  sharply  as  they  do  [Holt,  Walker,  Furness]  ?  feel  as  keenly  the 
emotions  of  joy  and  express  sorrow  as  they  do  [Wright,  who  retains  the 
comma  of  folios  1,  2,  after  '  sharply,'  and  makes  *  passion  '  a  verb]  ?  Pas- 
sion =  feel  the  force  of  passion  [Theobald]  ?  express  emotion  [Schmidt]  ? 
— 24-30.  This  very  significant  Christian  spirit  breathes  through  all  the 
plays  of  Shakespeare's  latest  period.  —  33-50.  Ye  elves,  etc.  Here  are 
traces  of  Shakespeare's  acquaintance  both  with  the  original  of  Medea's 
incantation  in  Ovid's  Metamorphoses  (vii,  197-219)  and  with  Golding's 
translation  of  the  same  in  1567.  "  Ovid,"  says  Maginn  (Eraser* s  Maga- 
zine, October,  1839),  "has  contributed  to  the  invocation  of  Prospero  at 
least  as  much  as  Golding."  —  Evidently  the  story  of  Medea  had  deeply 
impressed  Shakespeare's  imagination.  2  Ucnrif  IV,  V,  ii,  59;  Mer.  of 
Ven.,  V,  i,  13.  — 34.  printless  foot.  Comus,  897.  —36.  Neptune.  I,  ii, 
433,-36.  demi-puppets.    Why  demi?  — 37.  green  sour  ringlets  = 


SCENE  I.]  THE  TEMPEST.  117 

Whereof  the  ewe  not  bites ;  and  you  whose  pastime 

Is  to  make  midnight  mushrooms,  that  rejoice 

To  hear  the  solemn  curfew  ;  by  whose  aid  —  40 

Weak  masters  though  ye  be  —  I  have  bedimm'd 

The  noontide  sun,  calPd  forth  the  mutinous  winds. 

And  'twixt  the  green  sea  and  the  azur'd  vault 

Set  roaring  war  :  to  the  dread  rattling  thunder 

Have  I  given  fire,  and  rifted  Jove's  stout  oak 

With  his  own  bolt ;  the  strong-bas'd  promontory 

Have  I  made  shake,  and  by  the  spurs  pluck'd  up 

The  pine  and  cedar ;  graves  at  my  command 

Have  wak'd  their  sleepers,  op'd,  and  let  'em  forth 

By  my  so  potent  art.     But  this  rough  magic  60 

I  here  abjure  ;  and,  when  I  have  required 

Some  heavenly  music  —  which  even  now  I  do,  — 

To  work  mine  end  upon  their  senses  that 

This  airy  charm  is  for,  I'll  break  my  staff, 

Bury  it  certain  fathoms  in  the  earth. 

And  deeper  than  did  ever  plummet  sound 

I'll  drown  my  book.  [Solemn  music. 

Here  enter  Ariel  before :  then  Alonso,  with  a  frantic  gesture^ 
attended  by  Gonzalo  ;  Sebastian  and  Antonio  in  like 
manner,  attended  by  Adrian  and  Francisco  :  they  all 
enter  the  circle  which  Prospero  had  made,  and  there  stand 
charmed;  which  Prospero  observing,  speaks: 

A  solemn  air,  and  the  best  comforter 

To  an  unsettled  fancy,  cure  thy  brains. 

Now  useless,  boiPd  within  thy  skull !     There  stand,  60 

For  you  are  spell-stopp'd.  — 

Holy  Gonzalo,  honorable  man, 

*  fairy  rings'?  Grey  {Crit.,  Hist.,  and  Explan.  Notes,  1754)  says  that 
these  little  rings  *  are  higher,  sourer,  and  of  a  deeper  green  than  the  grass 
which  grows  around  them.'  Thev  are  *  the  circles  formed  in  grassy  lawns 
by  certain  fungi  (as  Marasmius  Oreades),  formerly  supposed  to  be  caused 
by  fairies  in  their  midnight  dances.'  Webster's  Int.  Diet.  — 38.  not 
bites.  113;  II,  i,  118.  —  39,  40.  rejoice  to  hear  the  solemn  curfew. 
Our  Comus,  432-435.  — 41.  weak  masters  =  inferior  masters  of  these 
supernatural  powers  [Steevens]  ?  powerful  auxiliaries,  but  weak  if  left  to 
yourselves  [Blackstone]  ?  weak  proficients,  weak  adepts  [Furness]  ?  —  In 

*  masters'  Jephson  discovers  slightly  contemptuous  irony;  Rolfe,  affec- 
tionate irony. — 43.  azur'd.  Adjective  turned  to  verb?  Abbott,  29i. — 
45,  46.  Jove's,  etc.  Oak  and  thunderbolt,  sacred  to  Jove  ?  As  You  Like 
It,  III,  ii,  221.  —  53.  that  =  which?  whom? 

60.  boil'd.    There  is  in  this  word  an  energy  amounting  to  fierceness. 


118  THE   TEMPEST.  [ACT  V. 

Mine  eyes,  even  sociable  to  the  show  of  thine, 

Fall  f ellowly  drops.  —  The  charm  dissolves  apace ; 

And  as  the  morning  steals  npon  the  night, 

Melting  the  darkness,  so  their  rising  senses 

Begin  to  chase  the  ignorant  fumes  that  mantle 

Their  clearer  reason.  —  0  good  Gonzalo, 

My  true  preserver,  and  a  royal  sir 

To  him  thou  f ollow'st !     I  will  pay  thy  graces  70 

Home  both  in  word  and  deed.  —  Most  cruelly 

Didst  thou,  Alonso,  use  me  and  my  daughter; 

Thy  brother  was  a  furtherer  in  the  act.  — 

Thou  art  pinch'd  for't  now,  Sebastian.  —  Flesh  and  blood, 

You,  brother  mine,  that  entertained  ambition, 

ExpelPd  remorse  and  nature ;  who,  with  Sebastian,  — 

Whose  inward  pinches  therefore  are  most  strong,  — 

Would  here  have  kilFd  your  king  ;  I  do  forgive  thee, 

Unnatural  though  thou  art.  —  Their  understanding 

Begins  to  swell,  and  the  approaching  tide  80 

Will  shortly  fill  the  reasonable  shore 

That  now  lies  foul  and  muddy.     Not  one  of  them 

That  yet  looks  on  me,  or  would  know  me.  — Ariel, 

Fetch  me  the  hat  and  rapier  in  my  cell ; 

I  will  disease  me,  and  myself  present 

As  I  was  sometime  Milan.     Quickly,  spirit ; 

Thou  shalt  ere  long  be  free. 

See  Wint.  Tale,  III,  iii,  63 ;  *  seething  brains  '  in  Mid.  N.  Br.,  V,  i,  4.  — 03. 
sociable  to  the  show  =  sympathizing  with  what  appears  [Rolfe]  ?  in 
close  companionship  and  sympathy  with  the  appearance  [WrightJ?  — <]4. 
fall.  II,  i,  292 ;  As  Y.  L.  I.,  Ill,  v,  5.  —f ellowly.  Ill,  i,  84 ;  our  Jul. 
CsGS.,  Ill,  i,  62.— The  -hj,  in  f ellowly,  is  A.  S.  lie,  \\\iQ.  — Abbott,  447. 

—  67.  ignorant  =  of  ignorance  [Wright]?  causing  ignorance  [Furness]? 

—  Fumes  personified? — mantle.     IV,  i,  182.-71.  home  =  completely? 

—  Shakes,  uses  'home*  =  * to  the  quick,'  or  'sensibly,'  'effectively,' 
'earnestly.*  —  75.  You.  Ill,  iii,  5(5.  — 76.  remorse  =  pity ?  tender  affec- 
tion? compunction  of  conscience? — Lat.  re,  again;  mordere,  to  bite;  re- 
morsus,  biting  back,  biting  again  and  again.  Our  Macb.,  I,  v,  42 ;  Mer.  of 
Ven.,  IV,  i,  20.  —  77.  thee.  Thou,  from  a  superior  to  an  inferior,  is  often 
confidential,  good-humored.  "But  a  master,  finding  fault,  often  resorts 
to  the  unfamiliar  'you,'  much  as  Caesar  cut  liis  soldiers  to  the  heart  by 
giving  them  the  respectful  title  of  '  Quirites.' "  —  81.  reasonable  =  of 
reason?  rational,  appropriate,  conformable  to  reason?  —  "The  shore  of 
reason  which  has  just  been,  by  another  figure,  compared  to  clear  water 
covered  with  a  scum  of  ignorant  fumes."  Wright.  —  See  on  ignorant,  line 
67.-85.  disease.  In  Wint.  T.,  IV,  iii,  616-618,  we  havej  "make  an 
exchange;  therefore  disease  thee  instantly  .  .  .  change  garments,"  etc. — 
In  Meas.for  M.,  II,  iv,  we  read  'tliy  case,  thy  habit.'  —  86.  sometime. 
So  '  our  sometime  sister,'  Hamlet,  I,  ii,  8;  Ephes.,  ii,  13. 


SCENE  I.]  THE  TEMPEST,  119 

Ariel  sings,  and  helps  to  attire  him. 

Where  the  bee  sucks,  there  suck  I: 

In  a  cowslip^ s  hell  I  lie  ; 

There  I  couch  ivhen  owls  do  cry,  90 

On  the  bafs  back  I  do  fly 

After  summer  merrily. 
Memly,  merrily,  shall  I  live  now 
Under  the  blossom  that  hangs  on  the  bough. 

Prospero.   Why,  that's  my  dainty  Ariel!     I  shall  miss 
thee ; 
But  yet  thou  shalt  have  freedom :  —  so,  so,  so.  — 
To  the  king's  ship,  invisible  as  thou  art : 
There  shalt  thou  find  the  mariners  asleep 
Under  the  hatches  ;  the  master  and  the  boatswain 
Being  awake,  enforce  them  to  this  place,  100 

And  presently,  I  prithee. 

Ariel.    I  drink  the  air  before  me,  and  return 
Or  ere  your  pulse  twice  beat.  \_Exit. 

Gonzalo.   All  torment,  trouble,  wonder,  and  amazement 
Inhabits  here  ;  some  heavenly  power  guide  us 
Out  of  this  fearful  country ! 

Prospero.  Behold,  sir  king, 

The  wronged  Duke  of  Milan,  Prospero ! 


88-94.  We  leave  to  the  botanists  and  ornitliologists  their  disputes  over 
this  pretty  song.  Those  who  are  curious  about  tliem  may  read  the  quota- 
tions and  references  in  Fumess,  and  we  wish  them  mucli  joy  of  the  owl 
and  the  bat.  '*  What,"  says  Furness,  ''  has  natural  history  to  do  with  The 
Tempest,  where  all  is  unnatural  history?  as  if  a  spirit,  that  could  tread 
the  ooze  of  the  salt  deep  or  work  i'  the  veins  of  the  earth  when  it  is  bak'd 
with  frost,  could  not  fly,  if  it  chose,  in  perpetual  sunsliine,  on  the  back  of 
a  bat,  which  was  torpid  as  a  stone  with  the  cold  of  a  dozen  winters."  — 
96.  so,  so,  so.  Referring  to  Ariel's  assistance  in  attiring  him  [Furness]? 
—  100.  being  awake.  "  Nom.  absolute,"  savs  Abbott,  376;  but  — ?  — 
101.  presently.  I,  ii,  125;  IV,  i,  42.  — 102.  drink  the  air.  '♦  It  would 
be  diflicult  to  parallel  this  little  speech,"  say  the  Cowden-Clarkes  (in  their 
The  Plays  of  Sliakespeare,  London  ed.),  ''with  one  conveying  an  equal 
impression  of  swift  motion.  Shakespeare  himself  has  matched  it  in  his 
Puck's  *  I'll  put  a  girdle  round  about  the  earth  in  forty  minutes,'  and,  '  I 
go,  I  go,  look  how  I  go ;  swifter  than  arrow  from  the  Tartar's  bow ' ; 
where  the  words  seem  to  dart  out  with  the  speed  and  light  leaps  of  Robin 
(xoodfellow  himself."  —  Drink  the  air  is  like  '  devour  the  way,'  2  Henry  IV, 
I,  i,  47;  viam  vorablt,  will  swallow  the  way,  Catullus,  xxxv,  7.  —  or  ere. 
Note  on  I,  ii,  11.  — 105.  inhabits.  This  form  in  s,  where  we  should  expect 
the  '  singular,'  is  very  common  in  S.     Abbott,  333,  336,  thinks  s  was  still 


120  THE  TEMPEST.  [ACT  V. 

For  more  assurance  that  a  living  prince 

Does  now  speak  to  thee,  I  embrace  thy  body; 

And  to  thee  and  thy  company  I  bid  110 

A  hearty  welcome. 

Alonso.  Wnether  thou  beest  he  or  no, 

Or  some  enchanted  trifle  to  abuse  me, 
As  late  I  have  been,  I  not  know  :  thy  pulse 
Beats,  as  of  flesh  and  blood ;  and,  since  I  saw  thee, 
The  affliction  of  my  mind  amends,  with  which, 
I  fear,  a  madness  held  me.     This  must  crave  — 
And  if  this  be  at  all  —  a  most  strange  story. 
Thy  dukedom  I  resign,  and  do  entreat 
Thou  pardon  me  my  wrongs.  —  But  how  should  Prosper o 
Be  living  and  be  here  ? 

Prospero.  First,  noble  friend,  120 

Let  me  embrace  thine  age,  whose  honor  cannot 
Be  measured  or  confined. 

Gonzalo.  Whether  this  be 

Or  be  not,  I'll  not  swear. 

Prospero.  You  do  yet  taste 

Some  subtleties  o'  the  isle,  that  will  not  let  you 
Believe  things  certain.  —  Welcome,  my  friends  all !  — 
\^Aside  to  Sebastian  and  Antonio']  But  you,  my   brace   of 

lords,  were  I  so  minded, 
I  here  could  pluck  his  highness'  frown  upon  you, 
And  justify  you  traitors ;  at  this  time 
I'll  tell  no  tales. 


recognized  as  a  relic  of  the  E.  Eng.  plu.  in  s  or  es.  — 112.  enchanted 
trifle  =  bewitching  phantom  [Hudson]  ?  trilie  produced  by  enchantment 
[Walker]?  —  The  old  sense  of  trifle  was  a  delusion,  a  trick.  Skeat. — 
abuse  =  deceive.  Hamlet,  II,  ii,  590,  and  often  in  S.  — 113.  not  know. 
38,  304;  II,  i,  118.  — saw.  Abbott,  347.  — 117.  And  if.  So  the  folio. 
Icel.  ejida,  if.  See  our  Jul.  (Jsds.,  I,  ii,  257 ;  Matt.,  xxiv,  48,  '  But  and  if 
that  evil  servant,' etc.  Abbott,  lOl-lQb.  — 119.  wrongs  =  sins?  Line  25. 
— 123.  subtleties.  A  '  subtlety  '  denoted  a  device  in  pastry  and  confec- 
tionery. Says  Steevens,  "When  a  dish  was  so  contrived  as  to  appear 
unlike  what  it  really  was,  they  called  it  a  subtllty.  Dragons,  castles, 
trees,  etc.,  made  out  of  sugar  had  the  like  denomination.  Froissart  com- 
plains much  of  this  practice,  which  often  led  him  into  mistakes  at  din- 
ner." "I  am  afraid  Steevens  is  right."  Furness.  — 127.  pluck.  A.  S. 
pluccian,  to  pull.  The  butcher's  term  (*  pluck ')  arose  from  pulling  the 
vital  organs  from  the  slain  animal.  Skeat.  — 128.  justify  =  exculpate? 
prove  just?  prove?  — In  All'fi  W.  T.  E.  W.,  IV,  iii,  50,  :'>\,  justified^ 
proved.  — 129.  No  I  Hudson,  Meiklejohn,  and  some  others  follow  Allen 
iPhila.  Shake.  Sac.)  and  rescd  Now  instead  of  *No';  becai!<"    ♦»"'\  ^ay, 


SCENE  I.]  THE  TEMPEST,  121 

Sebastian  \^Aside\  The  devil  speaks  in  him. 

Prospero.  no  !  — 

For  you,  most  wicked  sir,  whom  to  call  brother  130 

Would  even  infect  my  mouth,  I  do  forgive 
Thy  rankest  fault,  —  all  of  them ;  and  require 
My  dukedom  of  thee,  which  perforce  I  know 
Thou  must  restore. 

Alonso.  If  thou  beest  Prospero, 

Give  us  particulars  of  thy  preservation ; 
How  thou  hast  met  us  here,  who  three  hours  since 
Were  wracked  upon  this  shore,  where  I  have  lost  — 
How  sharp  the  point  of  this  remembrance  is !  — 
My  dear  son  Ferdinand. 

Prospero.  I  am  woe  for't,  sir. 

Alonso,     Irreparable  is  the  loss,  and  patience  140 

Says  it  is  past  her  cure. 

Prospero,  I  rather  think 

You  have  not  sought  her  help,  of  whose  soft  grace 
For  the  like  loss  I  have  her  sovereign  aid, 
And  rest  myself  content. 

Alonso.  You  the  like  loss  ? 

Prospero.     As  great  to  me  as  late ;  and  supportable 
To  make  the  dear  loss  have  I  means  much  weaker 
Than  you  may  call  to  comfort  you,  for  I 
Have  lost  my  daughter. 

Prospero  could  not  have  heard  Sebastian's  remark.  But  magicians  have 
good  ears.  Prospero's  indignant  No  is  as  forcible  as  Now  would  be  tame. 
— 132.  rankest  =  of  highest  grade  ?  most  malodorous  ?  —  Fr.  rang,  range, 
rank;  A.  S.  ranc^  strong,  proud,  forward.  The  sense  of  'strong-scented  ' 
is  late,  due  to  confusion  with  Lat.  rancidus,  rancid,  or  rather  with  O.  Fr. 
rancCf  'musty,  fusty,  stale.'  SJceat.  — 136.  who.  The  1st  folio  has 
lohom,  which,  possibly,  from  the  proximity  of  us,  might  be  explained  as  a 
case  of  'attraction.'  — 139.  -woe  =  sorry  [Malone,  Hudson,  Phillpotts, 
Rolfe,  Meiklejohn]?  —  Abbott,  230,  calls  the  sentence  'an  ungrammatical 
remnant  of  an  ancient  usage,'  for  "Woe  is  [to]  me."  May  it  be  that 
Prospero  means  "I  am  woe  itself,  an  embodiment  of  woe"?  See  '  blas- 
phemy,'line  218;  'conduct,' 244;  'cramp,' 287.  — 145.  as  late  =  and  has 
as  lately  happened  [Johnson,  Hudson,  Meiklejohn,  Deighton]  ?  as  it  is 
recent  [Wright,  Rolfe]?  —  The  folio  has  a  comma  after  'me.'  Which 
interpretation  does  the  comma  favor?  —  supportable.  How  accented ? 
Abbott  divides  thus : 

As  great  |  to  me  |  as  late ;  |  arid  support  |  able. 

This  seems  to  make  a  bull  of  the  last  syllable.  Perhaps  it  would  be  better 
to  accent  the  1st  and  3d  syl.  of  'supportable.'  — 146.  dear.  II,  i,  132. — 
148.  daughter.  Walker  and  Dyce  tell  us  daughter  is  a  trisyllable !  They 
do  not  tell  us  how.    We  may  therefore  guess.    Try  daugk — a — ter!  or 


122  THE   TEMPEST.  [ACT  V. 

Alonso.  A  daughter  ? 

0  heavens,  that  they  were  living  both  in  Naples, 

The  king  and  queen  there !  that  they  were,  I  wish  150 

Myself  were  mudded  in  that  oozy  bed 

Where  my  son  lies.     When  did  you  lose  your  daughter  ? 

Frospero.     In  this  last  tempest.     I  perceive,  these  lords 
At  this  encounter  do  so  much  admire 
That  they  devour  their  reason,  and  scarce  think 
Their  eyes  do  offices  of  truth,  their  words 
Are  natural  breath :  but,  howsoe'er  you  have 
Been  justled  from  your  senses,  know  for  certain 
That  I  am  Prospero,  and  that  very  duke 
Which  was  thrust  forth  of  Milan ;  who  most  strangely      160 
Upon  this  shore,  where  you  were  wrack'd,  was  landed, 
To  be  the  lord  on't.     No  more  yet  of  this ; 
For  'tis  a  chronicle  of  day  by  day. 
Not  a  relation  for  a  breakfast,  nor 
Befitting  this  first  meeting.     Welcome,  sir ; 
This  cell's  my  court :  here  have  I  few  attendants, 
And  subjects  none  abroad;  pray  you,  look  in. 
My  dukedom  since  you  have  given  me  again, 

1  will  requite  you  with  as  good  a  thing ; 

At  least  bring  forth  a  wonder,  to  content  ye  170 

As  much  as  me  my  dukedom. 

Here  Prospero  discovers  Ferdinand  and  Miranda  playing 

at  chess. 

Miranda.     Sweet  lord,  you  play  me  false. 

daugh — augh — ter  !  or,  possibly,  daugh — ter — erf  Any  one  of  these  would 
be  dreadful,  if  it  were  not  so  irresistibly  funny.  Fill  out  the  metre  by  a 
long  pause,  such  as  the  sense  naturally  requires.  See  our  Ilantlet,  I,  i, 
129,  132,  135.  — 150.  that  =  provided  that?  — 154.  admire.  Lat.  ad,  at; 
mlrari,  to  wonder.  —  See  admired,  Par.  Lout,  ii,  G77.  — 155.  devour.  HI, 
iii,  84. —  15G.  their  words  =  even  their  own  words?  But  Capell  and 
Hudson  change  their  to  *  these.'  Wisely? —  1(X).  which  .  .  .  of.  Abbott ^ 
266,  166.  — 170.  content  ye  =  please  you?  Fr.  contenter,  to  satisfy, 
gratify.  As  for  ye,  it  is  often  used  similarly  in  Shakes,  and  by  Milton, 
Bayard  Taylor,  etc.     Abbott,  236. 

172.  discovers  =  discloses ?  finds?  —  Fr.  ddcouvrir,  to  uncover,  bring 
to  view.  The  etymology  is  curious.  Lat.  difi,  apart;  O.  Fr.  des,  Fr.  de ; 
Lat.  CO-  or  coti-,  together,  with,  completely;  ob,  towards,  against,  over; 
root  PER  or  PAR,  to  complete,  make  (or  cover?) ;  Lat.  operire,  to  conceal ; 
cooperire,  to  cover  over,  or  cover  entirely;  whence  couvrir,  to  cover;  and 
d^couvrir. — ctiess.  In  the  Elizabethan  age,  Naples  is  said  to  have  been 
the  headquarters  of  this  game,  — play  me.    Abbott,  220. 


SCENE  I.]  THE   TEMPEST.  123 

Ferdinand.  No,  my  dear'st  love, 

I  would  not  for  the  world. 

Miranda.  Yes,  for  a  score  of  kingdoms  you  should  wrangle, 
And  I  would  call  it  fair  play. 

Alonso.  If  this  prove 

A  vision  of  the  island,  one  dear  son 
Shall  I  twice  lose. 

Sebastian.  A  most  high  miracle  ! 

Ferdinand.  Though  the  seas  threaten,  they  are  merciful ; 
I  have  curs'd  them  without  cause.  [Kneels. 

Alonso.  Now  all  the  blessings 

Of  a  glad  father  compass  thee  about !  180 

Arise,  and  say  how  thou  cam'st  here. 

Miranda.  0,  wonder! 

How  many  goodly  creatures  are  there  here ! 
How  beauteous  mankind  is !     O  brave  new  world 
That  has  such  people  in't ! 

Prospero.  'Tis  new  to  thee. 

Alonso.     What  is  this  maid  with  whom  thou  wast  at  play  ? 
Your  eld'st  acquaintance  cannot  be  three  hours ; 
Is  she  the  goddess  that  hath  sever'd  us. 
And  brought  us  thus  together  ? 

Ferdinand.  Sirf  she  is  mortal, 

But  by  immortal  Providence  she's  mine ; 
I  chose  her  when  I  could  not  ask  my  father  190 

For  his  advice,  nor  thought  I  had  one.     She 
Is  daughter  to  this  famous  Duke  of  Milan 
Of  whom  so  often  I  have  heard  renown. 
But  never  saw  before ;  of  whom  I  have 
E/Cceiv'd  a  second  life,  and  second  father 
This  lady  makes  him  to  me. 

175.  score  =  (not  the  number  twenty  but)  account  (subject  or  bet)  [War- 
burton]  ?  twenty  [Johnson]  ?  Score  of  kingdoms  =  game  in  which  the  score 
is  reckoned  by  kingdoms  [Wright]  ?  stake  ?  wager  ?  —  w^rangle  =  dispute 
noisily?  wrong  me  [Hudson]? — A.  S.  wringan,  to  press;  past,  ivrang, 
pressed.  M.  Eng.  wranglen.  .  .  .  The  frequentative  of  wHng,  to  press, 
to  strain.  .  .  .  The  orig.  sense  was  to  keep  on  pressing,  to  urge ;  hence 
to  argue  vehemently.  Skeat.  —  Does  she  mean,  "If  kingdoms  were  at 
stake,  and  you  disputed  my  charge  of  cheating,  (I  am  in  such  a  state  of 
mind  that)  I  should  call  it  fair  play  "  ?  — 176.  vision  of  the  island.  In 
Act  III,  sc.  iii,  he  has  seen  one  or  two  visions  vanish  into  nothingness.  — 
182,  183.  goodly  .  .  .  beauteous,  etc.  Goodhj,  as  in  Hamlet,  I,  ii,  180, 
is  good-looking?  So  Milton's  'Adam,  the  goodliest  man,'  Par.  Lost, 
iv,  323.  It  must  be  remembered  that  they  were  dressed  in  fine  apparel, 
I,  ii,  218,  219.  — 187.  Is  she  the  goddess.    ACneid,  i,  328,  329;  Comus, 


124  THE   TEMPEST.  [acT  V, 

Alonso.  I  am  hers. 

But,  O,  how  oddly  will  it  sound  that  I 
Must  ask  my  child  forgiveness  ! 

Prospero.  There,  sir,  stop; 

Let  us  not  burthen  our  remembrances  with 
A  heaviness  that's  gone. 

Gonzalo.  I  have  inly  wept,  2(XJ 

Or  should  have  spoke  ere  this.  —  Look  down,  you  gods, 
And  on  this  couple  drop  a  blessed  crown ! 
For  it  is  you  that  have  chalk'd  forth  the  way 
Which  brought  us  hither. 

Alonso.  I  say  Amen,  Gonzalo ! 

Gonzalo.    Was  Milan  thrust  from  Milan,  that  his  issue  205 
Should  become  kings  of  Naples  ?     O,  rejoice 
Beyond  a  common  joy  !  and  set  it  down 
With  gold  on  lasting  pillars  :  In  one  voyage 
Did  Claribel  her  husband  find  at  Tunis ; 
And  Ferdinand  her  brother  found  a  wife,  210 

Where  he  himself  was  lost ;  Prospero  his  dukedom. 
In  a  poor  isle ;  and  all  of  us  ourselves, 
When  no  man  was  his  own. 

Alonso.  [to  Ferdinand  and  Miranda']  Give  me  your  hands  ; 
Let  grief  and  sorrow  s^ill  embrace  his  heart 
That  doth  not  wish  you  joy ! 

Gonzalo.  Be  it  so  !     Amen !  — 

.Enter  Ariel,  with  the  Master  and  Boatswain  amazedly 
following. 

O,  look,  sir !  look,  sir !  here  is  more  of  us  ! 
I  prophesied,  if  a  gallows  were  on  land, 

266,  267.  —  196.  hers  =  her  second  father  ?  —  199.  remembrances. 
Allen,  Furness,  and  some  others  would  not  sound  the  s,  and  Furness 
would  elide  it  and  put  an  apostrophe  to  indicate  the  elision.  Would  not 
such  apostrophe,  however,  convey  to  the  aver^g^e  reader  an  erroneous 
notion;  viz.,  that  the  word  is  in  the  possessive  case?  —  "It  is  sufficient 
for  a  word  to  terminate  in  the  sound  of  h  to  be  regarded  by  the  ear  as  a 
plural."  Furness  (referring  to  Walker,  Vers.  246;  Abbott,  471).  See  on 
'princess,'  I,  ii,  17,3.  — 20<).  heaviness.  Mer.of  V.,  V,  i,  130;  Jul.  Caa^., 
II,  i,  275.  — 203.  chalk'd  forth  the  way.  So  in  Heni-y  VIII,  I,  i,  60, 
*  chalks  successors  their  way.' — 213.  his  own  =^  in  his  senses  [Steevens, 
Hudson]?  master  of  himself  [Rolfe,  Deightou]  ?  —  Is  the  phrase  'self- 
possessed'  quite  equivalent? — Considering  lines  205-213,  Phillpotts 
thinks  the  play  might  well  have  been  called,  "Lost  but  Found."  —  214. 
still  =  up  to  this  time?  always?  continually?—  I,  ii,  229:  TIT,  iii,  64. 


SCENE  I.]  THE  TEMPEST,  125 

This  fellow  could  not  drown.  —  Now,  blasphemy, 
That  swear'st  grace  overboard,  not  an  oath  on  shore  ? 
Hast  thou  no  mouth  by  land  ?     What  is  the  news  ?  220 

Boatswain.     The  best  news  is,  that  we  have  safely  found 
Our  king  and  company ;  the  next,  our  ship  — 
Which,  but  three  glasses  since,  we  gave  out  split  — 


216.  here  is.  I,  i,  16;  ii,  477.  — 221.  safely  f ound  =  found  safe. 
Rolfe  remarks,  '*  Shakespeare  often  uses  adverbs  as  'predicate  adjectives,' 
a  fact  not  mentioned  by  Abbott."  Rolfe  cites  'look  wearily,'  III,  i,  o2; 
'  looks  successfully '  in  As  You  L.  I.,  I,  ii,  137,  etc.  — 223.  three  glasses, 
etc.  This  sentence  and  that  uttered  by  Helena  in  AWs  Well  (II,  i,  165, 
166)  are  relied  upon  as  *  a  sure  proof  that  Shakespeare  7iever  was  at  sea.' 
The  elaborate  argument  to  this  effect  by  Br.  Nicholson  {New  Shakespeare 
Soc.  Trans.,  1880-2,  P't  i,  p.  53)  is  quoted  with  approbation  by  Furness 
{Var.  Ed.,  The  Tempest,  pp.  255,  256).  Briefly,  he  urges  that  the  sea- 
man's 'glass'  is  always  a  half-hour  glass;  that  Prospero  or  Ariel  (I,  ii, 
239-241),  just  after  the  storm  had  ceased,  said  it  was  '  at  least  two  glasses,' 
meaning  hours,  past  midday;  that  Alonzo  had  specified  less  than  three 
hours  (V,  i,  186)  as  the  time  that  had  elapsed  since  Ferdinand  made  the 
acquaintance  of  Miranda ;  that  the  boatswain's  '  three  glasses '  in  this  line 
must  therefore  cover  three  hours;  that  the  'four  and  twenty  times  the 
pilot's  glass,'  spoken  of  by  Helena  in  AlVs  Well,  cannot  mark  half-hours ; 
and  therefore,  to  conclude,  we  must  abandon  the  long-cherished  belief  in 
Shakespeare's  accuracy  in  the  technology  of  navigation.  In  reply,  it 
may  be  suggested  that  a  landman  would  naturally  understand  the  word 
glass  as  meaning  *  the  sandy  hour-glass  '  of  Mer.  of  Ven.,  I,  i,  25 ;  that  in 
AWs  Well,  Helena  is  not  a  sailor,  nor  bound  to  be  technically  accurate, 
and  she  very  likely  speaks  of  twenty-four  hours,^  though  she  uses  the 
words,  '  four  and  twenty  times  the  pilot's  glass  ' ;  that  the  expression  '  at 
least  two  glasses*  {Tempest,  I,  ii,  240)  is  neither  spoken  by  nor  to  a  sailor, 
but  by  Prospero  to  Ariel,  both  accustomed  to  hour-glasses ;  that  the  re- 
mark, "it  cannot  be  three  hours"  proves  nothing  as  to  the  mode  of 
reckoning.  It  was  past  two  when  the  lovers  first  met.  The  boatswain  is 
not  a  good  witness  as  to  the  lapse  of  time ;  (a)  having  probably  taken  too 
many  glasses  of  a  different  sort  (I,  i,  50) ;  (6)  having  been  sound  asleep 
(I,  ii,  32;  V,  i,  230,  231) ;  and  (c)  being  disposed  to  heighten  the  miracle 
by  shortening  the  time  (V,  i,  223).  Wherefore,  may  we  not  still  have  faith 
in  Shakespeare's  technical  knowledge  of  seamanship?  —  gave  out  =  gave 

1  The  king  asks  her  how  soon  her  mysterious  medicine  can  cure  his  malady.  She 
answers  virtually  in  a  climax,  first,  less  than  two  days ;  secondly,  about  a  day  and  a 
half;  thirdly,  less  than  one  day ;  thus : 

"  Ere  twice  the  horses  of  the  sun  shall  bring 
Their  fiery  torcher  his  diurnal  ring  ;  [i.e.  two  full  days.] 

Ere  twice  in  murk  and  occidental  damp 

Moist  Hesperus  hath  quenched  his  sleepy  lamp  ;  [say  36  hours  ?] 

Or  four  and  twenty  times  the  pilot's  glass 
Hath  told  the  thievish  minutes  how  they  pass."        [twenty-four  hours.] 

If  this  interpretation  of  the  passage  in  AlVa  Well  is  not  correct,  are  we  not  forced 
to  the  conclusion  that  Helena  simply  repeats  herself  in  utter  tautology,  '  ere  two  days, 
ere  two  days,  ere  two  days'  ?  Mr.  P.  A.  Daniel  in  his  Time  Analysis,  tells  us  "  the 
pilot's  glass  in  AlVs  Well  is  a  two-hour  glass"  !  Furness  concurs  in  this.  Was  then 
the  king  so  stupid  as  to  require  such  — iteration  ? 


126  THE    TEMPEST.  [acT  V. 

Is  tight,  and  yare,  and  bravely  rigged  a-s  when 
We  first  put  out  to  sea. 

Ariel.  \_Aside  to  Prospero]  Sir,  all  this  service 
Have  I  done  since  I  went. 

Prospero.  \_Aside  to  Ariel']  My  tricksy  spirit ! 

Alonso.  These  are  not  natural  events ;  they  strengthen 
From  strange  to  stranger.  —  Say,  how  came  you  hither  ? 

Boatswain.  If  I  did  think,  sir,  I  were  well  awake, 
I'd  strive  to  tell  you.     We  were  dead  of  sleep,  230 

And  —  how  we  know  not  —  all  clapp'd  under  hatches ; 
Where,  but  even  now,  with  strange  and  several  noises 
Of  roaring,  shrieking,  howling,  jingling  chains, 
And  moe  diversity  of  sounds,  all  horrible. 
We  were  awaked  ;  straightway,  at  liberty  ; 
Where  we,  in  all  her  trim,  freshly  beheld 
Our  royal,  good,  and  gallant  ship ;  our  master 
Capering  to  eye  her.     On  a  trice,  so  please  you, 
Even  in  a  dream,  were  we  divided  from  them 
And  were  brought  moping  hither. 

Ariel.  \^Aside  to  Prospero]  Was't  well  done  ?       240 

Prospero.  \_Aside  to  Ariel]  Bravely,  my  diligence.     Thou 
shalt  be  free. 

Alonso.    This  is  as  strange  a  maze  as  e'er  men  trod ; 
And  there  is  in  this  business  more  than  nature 
Was  ever  conduct  of :  some  oracle 
Must  rectify  our  knowledge. 

Prospero.  Sir,  my  liege. 

Do  not  infest  your  mind  with  beating  on 
The  strangeness  of  this  business.     At  pick'd  leisure, 
Which  shall  be  shortly,  single  I'll  resolve  you, 
Which  to  you  shall  seem  probable,  of  every 


up  as  [Rolfe]  ?  believed  and  declared  to  be  [Deighton]  ?— 224.  yare.  I,  i, 
3.  —  226.  tricksy.  Du.  treckken,  to  draw;  trek,  a  trick.  Our  Mer.  of 
Ven.,  Ill,  V,  50;  Hamlet,  IV,  vii,  186.  — 230.  of  sleep.  Abbott,  168.— 
232.  several.  Ill,  i,  42. —240.  moping.  IV,  i,  47:  our  Hamlet,  III,  iv, 
81.  —244.  conduct  =  conductor?  So  said  to  be  in  Richard  II,  IV,  i,  157 ; 
Rom.  and  Jul.,  V,  iii,  116.  See  'blasphemy,'  line  218;  'diligence.'  241, 
etc.  —  246.  infest.  Lat.  in,  against;  ohs.  fed^re  or  /endure,  to  strike; 
infestare,  to  attack. — beating  on.  I,  ii,  176;  Hamlet,  III,  i,  174. — 
248.  single  =  by  myself  [Wright]  ?  single,  one  by  one  [Delius]  ?  in  private 
[Rolfe,  Deighton,  Meiklejohn]  ?  to  you  (Alonso)  alone  [Warburton,  Capell, 
Furness]  —  resolve.  Our  Jul.  Ctes.,  Ill,  i,  132.  Do  we  say  'solve 
Uoubts'?  — 249.  which.  What?  solution?  explauation  [Allen]?  meth- 
«)d  [Johnson] ?  — probable « deserving  approbation  [Johnson]?  proved 


SCENE  I.]  THE    TEMPEST,  127 

These  happened  accidents ;  till  when,  be  cheerful,  250 

And  think  of  each  thing  well.  —  \_Aside  to  ArieV]  Come  hither, 

spirit : 
Set  Caliban  and  his  companions  free ; 

Untie  the  spell.  —  \_Exit  ArieV]  How  fares  my  gracious  sir  ? 
There  are  yet  missing  of  your  company 
Some  few  odd  lads  that  you  remember  not. 

Enter  Ariel,  driving  in  Caliban,  Stephano,  and  Trinculo, 
in  their  stolen  apparel. 

Stephano.  Every  man  shift  for  all  the  rest,  and  let  no  man 
take  care  for  himself,  for  all  is  but  fortune.  —  Coragio,  bully- 
monster,  coragio ! 

Trinculo.  If  these  be  true  spies  which  I  wear  in  my  head, 
here's  a  goodly  sight.  260 

Caliban.  O  Setebos,  these  be  brave  spirits  indeed ! 
How  fine  my  master  is !     I  am  afraid 
He  will  chastise  me. 

Sebastian.  Ha,  ha ! 

What  things  are  these,  my  lord  Antonio  ? 
Will  money  buy  'em  ? 

Antonio.  Very  like ;  one  of  them 

Is  a  plain  fish,  and  no  doubt  marketable. 

Prospero.  Mark  but  the  badges  of  these  men,  my  lords, 
Then  say  if  they  be  true.  —  This  misshapen  knave. 
His  mother  was  a  witch ;  and  one  so  strong 
That  could  control  the  moon,  make  flows  and  ebbs,  270 

And  deal  in  her  command  without  her  power. 

[Allen]?  —  **It  seems  to  me  quite  sufficient  that  Prospero's  resolution 
[explanation?]  should  appear  'probable'  to  Alonso,  especially  if  we  take 

*  seem '  in  its  strongest  sense."  Furness.  Abbott^  271.  —  every.  Abbott, 
12.  — 250.  happen'd.  Abbott,  295.-253.  untie.  See  III,  iii,  89;  I,  ii, 
485. — 255.  odd  =  unnoticed ?  queer?  —  Icel.  oddi,  a  triangle;  a  point  of 
land  ;  Dan.  od,  a  point.  *  Odds  and  ends  '  =  points  and  ends.  The  sense 
of  *  strange  '  or  '  queer '  seems  to  be  a  mere  development  from  that  of  un- 
even.   Skeat. 

259.  Coragio  [Ital.]  =  courage.  Lat.  cor,  heart;  Fr.  courage. — 
261.  Setebos.  I,  ii,  371.  — 267.  badges  =  stolen  apparel?  — **  Household 
servants  usually  wore  on  their  arms,  as  a  part  of  their  livery,  silver 

*  badges,'  whereon  the  shield  of  their  masters  was  engraved."  Furness. — 
268.  if  they  =  if  the  badges  [Furness]  ?  if  the  men  [Johnson]  ?  — true  = 
genuine  [Furness]  ?  honest  [.Johnson]  ?  —  271.  -without  =  beyond  [Staun- 
ton, Wright,  Hudson,  Furness,  Meiklejohn]  ?  —  -without  her  power, 
etc.  =  exercise  her  rule  without  being  empowered  by  her  to  do  so,  usurp- 
ing her  authority  [Malone,  Dyce,  Rolfe,  Phillpotts,  Deighton]?  exercise, 


128  THE   TEMPEST,  [act  V. 

These  three  have  robb'd  me ;  and  this  demi-devil  — 
For  he's  a  bastard  one  —  had  plotted  with  them 
To  take  my  life.     Two  of  these  fellows  you 
Must  know  and  own ;  this  thing  of  darkness  I 
Acknowledge  mine. 

Caliban.  I  shall  be  pinch'd  to  death. 

Alonso.  Is  not  this  Stephano,  my  drunken  butler  ? 

Sebastian.  He  is  drunk  now ;  where  had  he  wine  ? 

Alonso.  And  Trinculo  is  reeling-ripe ;  where  should  tJiey 
Find  this  grand  liquor  that  hath  gilded  'em  ?  280 

How  cam'st  thou  in  this  pickle  ? 

Trinculo.  I  have  been  in  such  a  pickle,  since  I  saw  you 
last,  that,  I  fear  me,  will  never  out  of  my  bones ;  I  shall  not 
fear  fly-blowing. 

Sebastian.  Why,  how  now,  Stephano ! 

Stephano.  0,  touch  me  not ;  I  am  not  Stephano,  but  a 
cramp. 

Prospero.  You'd  be  king  o'  the  isle,  sirrah  ? 

Stephano.  I  should  have  been  a  sore  one,  then. 

Alonso.  This  is  a  strange  thing  as  e'er  I  look'd  on.         290 

[Pointing  to  Caliban. 

Prospero.  He  is  as  disproportion'd  in  his  manners 
As  in  his  shape.  —  Go,  sirrah,  to  my  cell ; 
Take  with  you  your  companions ;  as  you  look 
To  have  my  pardon,  trim  it  handsomely. 

Caliban.   Ay,  that  I  will ;  and  I'll  be  wise  hereafter, 
And  seek  for  grace.     What  a  thrice-double  ass 
Was  I,  to  take  this  drunkard  for  a  god, 
And  worship  this  dull  fool ! 

locally  and  exceptionally,  the  office  of  the  moon,  but  without  her  poiver  as 
a  universal  cause  of  the  tidal  action  [Knight]  ?  beyond  her  power  [Staun- 
ton, Furness]?  outdo  the  moon  in  exercising  the  moon's  own  command 
[Hudson]?  In  2  Corinth.,  x,  13,  'without  our  measure '=  beyond  our 
measure.  —  279.  reeling  ripe  =  ripe  for  reeling  [Wright,  Rolf e]  ?  So 
drunk  that  he  reels  [Deighton]?  —  In  Love's  L.  L.,  V,  ii,  275,  and  in 
Sidney's  Arcadia  (1598),  p.  61,  we  have  'weeping  ripe' ;  in  Com.  of  Er., 
I,  i,  77, '  sinking  ripe ' ;  Beaum.  and  Fletch.,  *  crying  ripe,'  and  *  drunk  and 
tumbling  ripe.' — 280.  gilded.  Anciently  used  for  intoxicated,  Theo- 
bald, Warburton,  Steevens,  Wright,  etc.,  see  an  allusion  to  the  Elixor  of 
the  alchemists  {aurum  potahile,  Milton's  *  potable  gold.'  Par.  Lost,  iii, 
608).  In  'gilded,'  Phillpotts  sees  a  double  play:  (1)  on  their  clothes; 
(2)  on  sack  (sherry)  as  the  true  elixir.  — 283.  fear  me  =  permit  myself 
to  fear?  fear  for  myself?  Abbott,  29(>.  —  289.  sore.  Some  lind  n  (Hiib- 
ble  here,  and  similarly  in  2  Henry  VI,  IV,  vii,  9. —  290.  Ellipsis?  Abbott, 
276.-296.  grace.    Everyone  is  forgiven,  and  even  Caliban  Will  begin  a 


SCENE  I.]  THE  TEMPEST,  129 

Prospero.  Go  to ;  away  ! 

Alonso.   Hence,  and  bestow  your  luggage  where  you  found 
it. 

Sebastian,  Or  stole  it,  rather.  300 

[^Exeunt  Caliban^  Stephano,  and  Trinculo. 

Prospero,    Sir,  I  invite  your  highness  and  your  train 
To  my  poor  cell,  where  you  shall  take  your  rest 
For  this  one  night ;  which,  part  of  it,  I'll  waste 
With  such  discourse  as,  I  not  doubt,  shall  make  it 
Go  quick  away,  —  the  story  of  my  life. 
And  the  particular  accidents  gone  by 
Since  I  came  to  this  isle :  and  in  the  morn 
I'll  bring  you  to  your  ship,  and  so  to  Naples, 
Where  I  have  hope  to  see  the  nuptial 

Of  these  our  dear-belov'd  solemnized ;  310 

And  thence  retire  me  to  my  Milan,  where 
Every  third  thought  shall  be  my  grave. 

Alonso.  I  long 

To  hear  the  story  of  your  life,  which  must 
Take  the  ear  strangely. 

Prospero.  I'll  deliver  all ; 

And  promise  you  calm  seas,  auspicious  gales, 
And  sail  so  expeditious  that  shall  catch 
Your  royal  fleet  far  off.  —  \Aside  to  Ariel]  My  Ariel,  chick. 
That  is  thy  charge  ;  then  to  the  elements 
Be  free,  and  fare  thou  well !  —  Please  you,  draw  near. 

[Exeunt. 

better  life!  — 299.  bestow.  2  KingSy  v,  24.— 304,  II,  i,  118;  Abbott,  305. 
—  309.  nuptial.  S.  prefers  the  'singular'  form  of  this  word,  but  uses 
the  plural  also.  —  310.  solemnized.  Shakes,  here,  and  Milton  in  Par. 
Lost,  vii,  448,  accent  the  2d  syl.  —  311.  retire  me.  Abbott,  29G. — 
314.  deliver.  II,  i,  45.  — 317.  fleet  far  off.  I,  ii,  234.  — 319.  please 
you  =  may  it  please  you  ?  if  it  please  you  ? 

"  Stephano  and  Trinculo  sum  up  the  old  distrust  of  the  lower  classes. 
They  are  not  a  mob,  to  be  sure ;  on  the  magic  island  there  was  no  chance 
for  a  mob  to  breed  ;  in  Stephano  and  Trinculo,  however,  all  the  folly  and 
the  impotence  of  a  mob  are  incarnate.  With  Caliban  the  case  is  different ; 
in  him  there  is  a  perception  of  something  not  hinted  at  before. 

**  The  single  unique  figure  of  Caliban,  in  short,  typifies  the  whole  history 
of  such  world-wide  social  evolution,  such  permanent  race-conflict,  as  was 
only  beginning  in  Shakespeare's  day,  and  is  not  ended  in  our  own.  Civil- 
ization, exploring  and  advancing,  comes  face  to  face  with  barbarism  and 
savagery.  Savage  and  barbarian  alike  absorb,  not  the  blessings  of  civil- 
ization, but  its  vices,  amid  which  their  own  simple  virtues  are  lost.  Ruin 
follows.  .  .  .  Humanity  forbids  the  massacre  of  the  lower  races ;  the 
equally  noble  instinct  of  race-supremacy  forbids  any  but  a  suicidally 


130  THE   TEMPEST.  [ACT  V. 


EPILOGUE. 

SPOKEN    BY   PROSPERO. 

Now  my  charms  are  all  overthrown, 
And  what  strength  I  have's  mine  own^ 
Which  is  most  faint ;  now,  'tis  true, 
I  must  be  here  confined  by  you, 
Or  sent  to  Naples.     Let  me  not. 
Since  I  have  my  dukedom  got, 
And  pardon'd  the  deceiver,  dwell 
In  this  bare  island  by  your  spell ; 
But  release  me  from  my  bands 


philanthropic  man  of  European  blood  to  contemplate  without  almost 
equal  horror  the  thought  of  miscegenation.  Where  Caliban  would  possess 
Miranda,  we  torment  Caliban,  but  still  we  feel  bound  to  preserve  him,— 
which  \sic\  is  not  good  for  the  morals  or  the  temper  of  Caliban.  That 
savage  figure,  then,  shows  a  vision  so  prophetic  that  at  least  one  modem 
scholar  has  chosen  to  study  in  Caliban  the  psychology  of  Darwin's  missing 
link.  Marvellously  prophetic  suggestiveness,  however,  is  not  exactly  a 
condition  of  theatrical  effect." — Wendell's  William  Shakespeare,  1894. 

Epilogue.  Prologues  and  epilogues,  it  is  said,  were  often  written  in 
the  Elizabethan  age  by  other  persons  than  the  authors  of  the  plays. 
Richard  Grant  White  and  some  others  are  quite  sure  that  such  was  the 
case  with  this.  For  proof  they  dwell  upon  what  they  term  its  *  feeble 
trite  ideas  confined  within  stiff  couplets,'  *  the  clumsy  verse,'  the  requested 
*  prayers,'  etc. 

To  all  of  which  it  might  perhaps  be  properly  urged  that  this  epilogue, 
like  much  of  the  play  itself,  seems  somewhat  allegorical ;  that  we  must 
therefore  attempt  to  look  beneath  the  surface ;  that  there  are  also  uncouth 
verses  and  harsh-sounding  couplets  in  the  play ;  but  if  we  can  find  an 
inner  meaning  in  the  epilogue,  we  may  not  only  pardon  the  clumsiness, 
but  even  say  like  Milton, 

"  Those  rugged  words  to  our  like  mouths  grow  sleek, 
That  would  have  made  Quintilian  stare  and  gasp." 

Think  of  Prospero  as  Shakespeare  himself,  bidding  farewell,  not  only 
to  the  glorious  enchantments  of  the  drama,  but  to  its  unspeakable  degra- 
dations in  the  hands  of  other  playwrights  of  that  age ;  a  magician  who 
feels  that,  in  spite  of  himself,  his  art  has  not  been  wholly  free  from  the 
contamination  of  those  surroundings  of  which  he  exclaims,  in  his  one 
hundred  and  eleventh  sonnet, 

"  And  almost  thence  my  nature  is  subdued 
To  what  it  works  in,  like  the  dyer's  hand  1 " 

He  quits  his  theatre.  "  Every  third  thought  shall  be  my  grave."  His 
mood  is  distinctly  religious. 

Line  3.  most  faint.  Has  a  reaction  come?  ennui  f  —  Q.  dukedom. 
What?  —  8.  your  spell  =  imaginary  enchantment?  fascination  of  old 
companionship?  —  9.  release  .  .  .  bands,  etc.    Noise  broke  the  sx)ell  of 


SCENE  I.]  THE  TEMPEST.  131 

With  the  help  of  your  good  hands.  10 

Gentle  breath  of  yours  my  sails 

Must  fill,  or  else  my  project  fails, 

Which  was  to  please.     Kow  I  want 

Spirits  to  enforce,  art  to  enchant ; 

And  my  ending  is  despair, 

Unless  I  be  relieved  by  prayer. 

Which  pierces  so  that  it  assaults 

Mercy  itself,  and  frees  all  faults. 

As  you  from  crimes  would  pardon'd  be, 

Let  your  indulgence  set  me  free.  20 


enchantments.  See  IV,  i,  59.  Allegory? — 10.  hands  =  hand-clapping? 
co-operation?  — 11.  breath,  of  applause?  of  sympathy?  of  devotion?  — 
13.  to  please.  The  mission  of  the  drama  to  afford  amusement,  recrea- 
tion, joy? — 15.  despair.  Natural  under  the  circumstances  ?  common  to 
necromancers  in  their  last  moments  [Warburton]? — Furness's  Var.  ed. ; 
As  You  L.  /.,  V,  iv,  30,  p.  269.  — 16.  prayer.  Efficaciously  offered  for 
necromancers  [Warburton]  ?  prayer  for  the  sovereign  offered,  according 
to  custom,  by  players  kneeling,  at  the  close  of  the  play  [Jephson]  ?  James, 
V,  13,  16. — 17.  assaults.  **The  kingdom  of  Heaven  suffereth  violence, 
and  the  violent  take  it  by  force."  Matt.,  xi,  12;  Lvke,  xviii,  1-7. — 
18.  mercy  itself  =  divine  Mercy?  God,  the  all-merciful?  —  frees  all 
faults  =  absolves  from  all  sins  ?  —  Shakespeare  often  omits  the  preposi- 
tion. Sometimes  the  construction  resembles  the  Greek  accusative,  which 
we  translate  by  supplying  in  English  the  words  as  to,  or  in  regard  to. 
Abbott,  200. —  ''Forgiveness  and  freedom!  these  are  the  key-notes  of  this 
play."  —  Dowden, 


APPENDIX. 


HOW  TO  STUDY  ENGLISH  LITERATURE. 

IFrom  the  Boston  Board  of  School  Supemsors,  1877.] 

During  the  short  time  given  to  English  Literature  in  the  High 
Schools,  few  authors  can  be  studied,  and  only  selections  from  their 
works  can  be  critically  read.  The  main  purpose,  then,  of  this  brief 
course  of  study  should  be  to  form  and  cultivate  a  taste  for  good  litera- 
ture, to  encourage  careful  and  systematic  reading,  and  to  illustrate  the 
principles  which  should  guide  in  selecting  authors  and  works  to  be 
read  after  leaving  school.  It  should  be  the  purpose  of  the  teacher, 
while  keeping  the  exercises  in  literature  from  becoming  either  mere 
tasks  or  pastimes,  to  make  the  lessons  so  interesting  that  they  will  be 
eagerly  and  vigorously  studied,  and  will  inspire  a  desire  for  a  larger 
acquaintance  with  the  best  authors.  This  purpose,  it  is  believed,  can 
be  accomplished,  partly  by  leading  the  pupils  to  perceive  the  real  intent 
of  the  author,  his  thoughts  and  feelings,  the  strength  of  his  argument, 
the  beauty  and  nobleness  of  his  sentiment,  and  his  clear,  distinct, 
forcible,  and  happy  expression ;  partly  by  giving  a  vivid  account  of 
his  life  and  times  and  their  influence  on  each  other,  and  by  exciting 
an  interest  in  the  lives  of  his  most  eminent  literary  contemporaries. 
Thus,  by  association  and  comparison,  the  study  of  a  single  author 
may  be  an  introduction  and  an  incentive  to  the  study  of  the  literature 
of  his  period. 


At  the  outset,  the  whole  of  a  poem,  sketch,  essay,  or  novel  should 
be  read  by  the  pupils,  either  at  home  or  at  school.  Having  formed  a 
general  conception  of  the  production,  they  should  study  carefully  and 
read  intelligently  with  their  teacher  those  parts  of  it  that  are  most 
interesting  and  instructive,  and  that  represent  the  genius  and  style  of 
the  author. 

\_From  George  H.  Martin^  Agent  of  the  Mass,  Board  of  Education.'] 

What  is  wanted  is  a  carefully  graded  course,  which,  beginning  with 
the  poetry  of  action,  should  lead  the  student  step  by  step  to  the  senti- 
mental and  the  reflective,  all  in  their  simplest  forms,  thence  through 

133 


134  APPENDIX. 

the  more  elaborate  narrative  to  the  epic  and  the  dramatic.  The  aim 
here  is  not  to  teach  authors  or  works,  but  poetry  ;  and  the  works  are 
selected  for  their  value  as  illustrations,  without  reference  to  their 
authors.  A  parallel  course  in  the  study  of  prose  should  be  pursued 
with  the  same  end.  Then,  having  learned  what  poetry  is  and  what 
prose  is,  what  they  contain  and  how  to  find  their  contents,  the  pupils 
would  be  prepared  to  take  up  the  study  of  individual  authors.  Having 
studied  the  authors,  the  final  step  would  be  to  study  the  history  of  the 
literature,  in  which  the  relation  of  the  authors  to  each  other  and  to 
their  times  would  appear.  This  would  place  the  study  of  literature 
on  a  scientific  basis,  —  first  elementary  ideas,  then  individual  wholes, 
then  relations  and  classifications. 

\^From  an  address  by  L.  B.    Williston^  A.M.,   Supervisor  of  Public 
Schools,  Boston.^ 

How  shall  the  teacher  bring  his  pupils  best  to  see  and  feel  the 
thoughts  of  his  author  as  he  saw  and  felt  them? 

First,  Kead  the  works  carefully  with  them.  Let  the  teacher  read, 
and  question  as  he  reads.  Let  him  often  ask  for  paraphrases,  and 
draw  out  in  every  way  the  thought  of  his  class,  making  sure  that  all 
is  clear.  Let  every  impression  have  a  corresponding  expression, 
which  shall  re-act,  and  deepen  the  impression. 

Second,  When  a  part  of  the  work,  an  act,  book,  or  canto,  has  been 
carefully  read,  assign  a  theme  for  a  written  essay.  Let  the  class  tell 
what  the  poet  has  attempted,  how  he  has  succeeded,  what  are  the  im- 
pressions made  by  the  characters,  scenes,  and  descriptions. 

Let  the  teacher  himself  write  upon  the  themes  assigned  to  his  class, 
and  thus  give  them  a  model  of  what  he  wishes  them  to  do. 

Third,  When  the  book  or  play  has  been  carefully  read  and  studied 
in  this  way  in  all  its  parts,  let  it  be  re-read  in  a  larger  and  freer  way 
than  before.  Let  the  pupils  read,  and  the  teacher  watch  to  see  if  the 
thought  is  clearly  apprehended  by  the  pupil.  Let  the  fine  passages  be 
read  again  and  again  by  different  members  of  the  class,  and  their  ren- 
dering be  criticised  by  class  and  teacher.  If  the  work  read  be  a  play, 
let  the  parts  be  taken  by  different  members  of  the  class.  Let  all  the 
parts  of  the  work  now  be  studied  in  their  relation  to  each  other  and  to 
the  whole.  Essays  now  should  be  written  upon  subjects  suggested  by 
this  more  comprehensive  study  of  the  work, —  a  comparison  of  charac- 
ters, noteworthy  scenes  and  their  bearing  upon  the  whole,  the  style  of 
the  author,  and  his  skill  in  description,  dramatic  presentation,  or 
invention. 

Fourth,  With  the  careful  reading  and  study  of  some  book  in  school j 
I  think  it  important  that  there  should  go  the  reading  of  some  other 
book  out  of  school.  Flowers  are  not  all  to  be  picked  and  analyzed, 
but  are  to  be  enjoyed  as  they  are  seen  by  "him  who  runs."  " Some 
books  arfe  to  be  tasted,  others  to  be  swallowed,  some  few  to  be  chewed 
and  digested."  Let  the  pupil  have  his  exercise  in  merely  "  tasting" 
books,  with  enjoyment  as  the  chief  end.  Let  the  teacher  be  his  guide, 
and  merely  ask  him  to  report  what  he  finds.  In  other  words,  let  him 
read,  as  we  all  read  when  we  read  for  pleasure, — with  his  mind  at 


APPENDIX:  13o 

ease  and  open  to  every  charm  that  genius  can  present.  Let  the  teacher 
make  the  book  the  subject  of  conversation  with  his  class,  and  draw 
their  attention  by  his  questions  to  the  chief  points  which  make  it 
noteworthy. 

Do  not  make  a  disagreeable  task  of  any  such  exercise.  For,  that 
our  pupils  may  receive  the  highest  and  best  influence  from  this  study 
of  English  literature,  it  is  essential  that  they  love  it,  and  retain  only 
pleasant  memories  of  the  hours  spent  at  school  in  the  society  of  its 
best  authors. 


[From  J,  M.  Buchan,  Inspector  of  High  Schools^  Ontario,  Canada: 
quoted  in  BlaisdelVs  '''■Outline  Studies  in  English  Classics.''^^ 

With  all  classes  of  pupils  alike,  the  main  thing  to  be  aimed  at  by 
the  teacher  is  to  lead  them  clearly  and  fully  to  understand  the  mean- 
ing of  the  author  they  are  reading,  and  to  appreciate  the  beauty,  the 
nobleness,  the  justness,  or  the  sublimity  of  his  thoughts  and  language. 
Parsing,  the  analysis  of  sentences,  the  derivation  of  words,  the  expla- 
nation of  allusions,  the  scansion  of  verse,  the  pointing-out  of  figures 
of  speech,  the  hundred  and  one  minor  matters  on  which  the  teacher 
may  easily  dissipate  the  attention  of  the  pupil,  should  be  strictly  sub- 
ordinated to  this  great  aim.  ...  It  is  essential  that  the  mind  of  the 
reader  should  be  put  en  rapport  with  that  of  the  writer.  There  is 
something  in  the  influence  of  a  great  soul  upon  another,  which  defies 
analysis.  No  analysis  of  a  poem,  however  subtle,  can  produce  the 
same  effect  upon  the  mind  and  heart  as  the  reading  of  the  poem 
itself. 


IFrom  F.  G.  Fleay^s  ^^  Guide  to  Chaucer  and  Spenser.''^] 

No  doubtful  critical  point  should  ever  be  set  before  the  student  as 
ascertained.  One  great  advantage  of  these  studies  is  the  acquirement 
of  a  power  of  forming  a  judgment  in  cases  of  conflicting  evidence. 
Give  the  student  the  evidence ;  state  your  own  opinion,  if  you  like, 
but  let  him  judge  for  himself. 

No  extracts  or  incomplete  works  should  be  used.  The  capability  of 
appreciating  a  whole  work,  as  a  whole,  is  one  of  the  principal  aims  in 
iesthetic  culture. 

It  is  better  to  read  thoroughly  one  simple  play  or  poem  than  to 
knciw  details  about  all  the  dramatists  and  poets.  The  former  trains 
the  brain  to  judge  of  other  plays  or  poems :  the  latter  only  loads  the 
ineniory  with  details  that  can  at  any  time  be  found,  when  required,  in 
books  of  reference. 

For  these  studies  to  completely  succeed,  they  must  be  as  thorough 
as  our  classical  studies  used  to  be.  No  difficult  point  in  syntax,  pros- 
ody, accidence,  or  pronunciation  ;  no  variation  in  manners  or  customs  ; 
no  historical  or  geographical  allusion,  —  must  be  passed  over  without 
explanation.  This  training  in  exactness  will  not  interfere  with,  but 
aid,  the  higher  aims  of  literary  training. 


136  APPENDIX. 

\^From  BlaisdelVs  ^^  Outlines  for  the  Study  of  English  Classicsy^ 

The  following  summary  of  points  to  be  exacted  .  .  .  may  prove 
useful :  — 

I.  —  Points  relative  to  substance. 

1.  A  general  knowledge  of  the  purport  of  the  passages,  and 

line  of  argument  pursued. 

2.  An  exact  paraphrase  of  parts  of  the  whole,  producing  ex- 

actly and  at  length  the  author's  meaning. 

3.  The  force  and  character  of  epithets. 

4.  The  meaning  of  similes,  and  expansions  of  metaphors. 

5.  The  exact  meaning  of  individual  words. 

II. — Points  with  regard  to  form. 

1.  General  grammar  rules;  if  necessary,  peculiarities  of  Eng- 

lish grammar. 

2.  Derivations :    (1)  General  laws  and  principles  of  deriva- 

tions, including  a  knowledge  of  affixes  and  suffixes. 
(2)  Interesting  historical  derivation  of  particular  words. 

III. — The  knowledge  of  all  allusions. 

IV.  —  A  knowledge  of  such  parallel  passages  and  illustrations 
as  the  teacher  has  supplied. 


From  all  that  has  been  quoted  from  the  foregoing  authorities,  it 
may  justly  be  inferred  that  somehow  or  other  the  pupil  must  be  made 
to  feel  an  interest  in  the  author,  to  adynire  what  is  admirable  in  the 
composition,  and  really  to  enjoy  its  study.  Secure  this,  and  all  else 
will  follow  as  a  matter  of  course  :  fail  in  this,  and  the  time  is  wasted. 

The  following  suggestions,^  or  some  of  them,  may  be  helpful  in 
daily  class- work  :  — 

1.  At  the  beginning  of  the  exercise,  or  as  often  as  need  be,  require  a 

statement  of  — 

(a)  The  main  object  of  the  author  in  the  whole  poem,  ora- 
tion, play,  or  other  production  of  which  to-day's  lesson  is  a 
part. 

(6)  The  object  of  the  author  in  this  particular  canto,  chapter, 
act,  or  other  division  of  the  main  work. 

2.  Read  or  recite  from  memory  (or  have  the  pupils  do  it)  the  finest 

part  or  parts  of  the  last  lesson.  The  elocutionary  talent  of  the 
class  should  be  utilized  here,  so  that  the  author  may  appear  at 
his  best. 

3.  Require  at  times  (often  enough  to  keep  the- whole  fresh  in  mem- 

j    ory)  a  resume  of  the  "  argument,"  story,  or  succession  of  topics, 
up  to  the  present  lesson. 

1  See  Suggestions  to  Teachers,  in  Sprague's  edition  of  the  First  Two 
Books  of  Paradise  Lost  and  Lycidas ;  also  in  his  Six  Selections  from 
Irving. 


APPENDIX.  137 

4.  Have  the  student  read  aloud  the  sentence,  paragraph,  or  lines,  now 
(or  previously)  assigned.  The  appointed  portion  should  have 
some  unity. 

6.  Occasionally  let  the  student  interpret  exactly  the  meaning  by  sub- 
stituting his  own  words  ;  explain  peculiarities.  This  paraphrase 
should  often  be  in  writing. 

6.  Let  him  state  the  immediate  object  of  the  author  in  these  lines. 

Is  this  object  relevant  ?  important  ?  appropriate  in  this  place  ? 

7.  Let  him  point  out  the  ingredients  (particular  thoughts)  that  make 

up  the  passage.  Are  they  in  good  taste  ?  just  ?  natural  ?  well 
arranged  ? 

8.  Let  him  point  out  other  merits  or  defects,  — anything  noteworthy 

as  regards  nobleness  of  principle  or  sentiment,  grace,  delicacy, 
beauty,  rhythm,  sublimity,  wit,  wisdom,  humor,  naivete^  kind- 
liness, pathos,  energy,  concentrated  tiiith,  logical  force,  origi- 
nality ;  give  allusions,  kindred  passages,  principles  illustrated, 
etc. 

The  choicest  passages  may  be  made  the  basis  of  language  study,  in 
accordance  with  the  foregoing  suggestions,  somewhat  as  follows  (Act 
IV,  sc.  i,  148-159)  :  — 

1.  Bepeat  from  memory ^  with  proper  expression^  this  passage,  — 

Our  revels  now  are  ended.    These  our  actors, 
As  I  foretold  you,  were  all  spirits,  and 
Are  melted  into  air,  into  thin  air : 
And,  like  the  baseless  fabric  of  this  vision. 
The  cloud-capp'd  towers,  the  gorgeous  palaces, 
The  solemn  temples,  the  great  globe  itself, 
Yea,  all  which  it  inherit,  shall  dissolve, 
And,  like  this  insubstantial  pageant  faded, 
Leave  not  a  rack  behind.    We  are  such  stuff 
As  dreams  are  made  on  ;  and  our  little  life 
Is  rounded  with  a  sleep. 

2.  Comment  on  particular  words  and  sentences. 

In  this  passage  *  revels'  may  be  from  Lat.  rebellare,  to  rebel,  in- 
fluenced in  meaning  perhaps  by  Fr.  reveiller,  to  awake,  fr.  Lat.  re, 
again,  ex^  out,  vigilare,  to  wake. 

*  Foretold'  is  told  before  (in  line  120).  *  Spirits,'  as  the  etymology 
of  the  word  suggests,  from  spirare^  to  breathe,  are  of  the  air  and  re- 
turn to  air.  The  word  well  illustrates  the  physical  basis  or  analogy 
which  commonly  underlies  all  our  vocabulary  of  the  supernatural. 
*  Into  thin  air,'  is  an  evident  recollection  of  Virgil's  in  tenuem  auram^ 
^neid,  iv,  278.  *  Palaces '  are  so  called  originally  from  the  splendid 
residences  erected  by  the  Csesars  and  others  upon  the  Palatine  Mount 
at  Rome.  '  Solemn,'.  Old  Lat.  solus  (for  totus^  entire)  and  annus,  d^. 
year,  originally  meant  happening  but  once  in  a  whole  year,  anniver- 
sary, and  therefore  important,  momentous.  '  Globe '  may  mean  the 
universe,  the  celestial,  as  well  as  the  terrestrial  sphere  ;  but  is  gener- 
ally supposed  to  mean  here  our  earth.     Gr.  y\6Bos^  Lat.  globus. 

'  Inherit '  is  used,  as  elsewhere  in  Shakespeare,  for  possess.  *  Pa- 
geant '  is  from  Lat.  compaginata,  framed  together,  pangere,  base  pag. 


138  APPENDIX. 

to  fasten,  put  together,  to  frame,  to  construct.  A  pageant  in  Shake- 
speare's time  signified  a  magnificent  spectacle  exhibited  upon  a  great 
framework.     See  Mer.  of  Few.,  I,  i,  11. 

'Rack'  is  etymologically  the  same  with  wrack  {wreck),  something 
drifted  ashore,  or  drifting  ;  from  Icel.  rek,  drift.  In  Shakespeare  it  is 
perhaps  a  fragmentary  cloud,  precursor  or  relic  of  a  storm.  Moore's 
verses  in  J^he  Fire  -  Worshippers  (in  Lalla  Bookh)  well  illustrate  the 
sense :  — 

The  day  is  lowering  ;  stilly  black 
Sleeps  the  grim  wave,  while  heaven's  rack, 
Dispersed  and  wild,  twixt  earth  and  sky, 
Hangs  like  a  shattered  canopy. 
There's  not  a  cloud  in  that  blue  plain 
But  tells  of  storm  to  come  or  past, 
Here  flying  loosely  as  the  mane 
Of  a  young  war-horse  in  the  blast, 
Tliere  rolled  in  masses  dark  and  swelling, 
As  proud  to  be  the  thunder's  dwelling. 
While  some,  already  burst  and  riven, 
Seem  melting  down  the  verge  of  heaven. 

*  Stuff,'  for  material,  seems  used  with  slight  disparagement,  due, 
perhaps,  in  part,  to  the  expulsive  sound  with  which  it  must  be  enun- 
ciated. 

*  Rounded  with  a  sleep.'  This  is  variously  interpreted.  The  circle 
of  life  begins  and  ends  with  .sleep.  Says  Darmestetcr  (Introduction, 
p.  xxxii),  "  Nos petitcs  vies  sont  les  isles  du  sommeil.^''  '  Rounded'  is 
*  finished  off  as  with  a  crown,'  says  Wright.     Meiklejohn  quotes 

Our  life  is  a  watch  and  a  vision 
Between  a  sleep  and  a  sleep. 

See  in  Carlyle's  Sartor  Besartus  the  paragraph  beginning,  **  We  sit 
as  in  a  boundless  phantasmagoria  or  dream  gi'otto"  ;  and  in  Julius 
Ccesar,  V,  iii,  23-25,  — 

This  day  I  breathed  first ;  time  is  come  round, 
And  where  I  did  begin,  tliere  shall  1  end. 
My  life  is  run  his  compass. 

Douglas  Campbell  (Puritans  in  England,  Holland,  and  America) 
and  some  others  hastily  infer  from  this  passage  that  Shakespeare  was 
an  atheist,  or  infidel,  or  at  least  a  disbeliever  in  the  immortality  of  the 
soul.  But  the  language  of  Prospero  in  Act  I,  Sc.  ii,  159,  of  Ariel,  Act 
III,  Sc.  iii,  70-82,  the  Prayer  referred  to  in  the  Epilogue,  and  the 
explicit  declaration  in  Shakespeare's  Will,  strongly  tend  to  a  different 
conclusion. 

3.    Translate  into  different  English  words. 

Our  fantastic  sports  at  length  are  finished.  All  these  play-performers 
of  ours,  as  I  previously  declared  to  you,  were  beings  incorporeal,  and 
are  dissolved  into  mere  atmosphere,  attenuated  atmosphere.  Similarly 
to  this  spectacle's  foundationless  structure,  too,  the  turrets  whose 
heads  are  crowned  with  sky-mist,  the  rich  and  splendid  houses  of  the 
great,  the  awe-inspiring  edifices  of  the  gods,  the  vast  round  world 


APPENDIX,  139 

itself —  yes,  everything  which  possesses  it  —  shall  melt  away,  and,  like 
dissolving  views  of  this  magnificent  show  without  substance,  vanish, 
with  not  a  film  of  cloud  in  the  welkin  to  tell  that  they  have  ever  been. 
We  are  such  matter  as  constitutes  the  imaginings  of  one  in  sleep,  and 
our  petty  existence  is  encircled  with  slumber. 

We  have  Shakespeare's  maturest  thoughts.  He  seems  to  think, 
with  Professor  Langley,  so  universes  come  and  go. 

Criticism  from  the  class  should  be  called  for,  corrections  should  be 
made  by  the  instructor,  and  parallel  passages  should  be  quoted. 

Such  treatment  of  choice  passages,  often  thoroughly  memorized 
and  recited  with  proper  elocutionary  expression^  should  sometimes  be 
mainly  in  writing.  However  imperfect,  it  gives  in  large  measure  that 
kind  of  drill  which  the  best  training  in  Latin  and  Greek  imparts.  Its 
importance  as  a  mental  discipline,  an  enlargement  of  the  student's 
vocabulary,  a  cultivation  of  the  taste,  an  acquisition  of  rich  and  fruit- 
ful treasures  of  thought,  and  a  means  of  securing  both  facility  and 
felicity  of  expression,  can  hardly  be  overestimated. 

SPECIMEN  OF  EXAMINATION  PAPERS. 

Taken  in  part  from  the  Papers  of  the  English  Civil  Service  Commission. 
Perhaps  too  much  attention  is  paid  in  them  to  phraseology , 

A  (First  Act  chiefly) 

1.  Give  the  substance  of  the  story  told  by  Prosper©  to  Miranda. 

2.  State  the  parts  played  by  Ariel  and  Caliban ;  the  history  of  each. 

3.  State  by  whom,  to  whom,  and  on  what  occasions  the  following  lines 
were  uttered :  — 

(a)  We  are  merely  cheated  of  our  lives  by  drunkards 
Ih)  In  the  dark  backv)ard  and  abysm  of  time. 

(c)  From  the  still-vex'd  Bei^mooth'es,  there  she's  hid. 

(d)  To  do  me  business  in  the  veins  o'  the  earth. 

(e)  He's  gentle  and  not  fearful. 

if)  A  single  thing,  as  I  am  now,  that  wonders. 
(g)  What  cares  these  roarers  for  the  name  of  king? 

4.  Explain  the  words  in  Italics  in  the  above. 

5.  Explain  Shakespeare's  use  of  the  following  words  and  phrases: 
(a)  Play  the  man ;  (b)  incharitable ;  (c)  god  of  power ;  (d)  the  very 
virtue  ;  (e)  holp ;  (/)  from  such  a  deed ;  (g)  closeness ;  (/i)  a  hint  that 
wrings  mine  eyes ;  {i)  grand  hests ;  (j)  capable  of. 

5.  Give  some  instances  of  Shakespeare's  peculiar  grammar  in  the  use  of 
double  comparatives  and  such  phrases  as  I  were  best. 

B  (Second  Act). 

1.  Give  a  brief  account  of  the  action  in  the  Second  Act. 

2.  State  the  substance  of  the  passage  quoted  by  Gonzalo  from  Mon- 
taigne ;  its  bearing  on  the  date  of  composition. 

3.  State  by  whom,  to  whom,  and  on  what  occasions  the  following  lines 
were  uttered :  — 


^]\ 


saw  him  beat  the  surges  under  him. 
Bourn,  bound  of  land,  tilth,  vineyard,  none. 


140  APPENDIX, 

(c)  To  the  perpetual  wink  for  aye  might  put. 

{d)  They  will  not  give  a  doit  to  relieve  a  lame  beggar, 
(e)  Misery  acquaints  a  man  with  strange  bedfellows. 

4.  Explain  the  words  in  Italics  in  the  above. 

5.  Annotate  and  explain  the  peculiarities  in  the  following  words  and 
phrases :  (a)  A  paragon  to  their  queen ;  (6)  the  dear'st  of  the  Ioj^s  ;  (c) 
minister  occasion;  {d)  ebbing  men;  (e)  candied;  (/)  sudden;  (g)  itich' 
meal;  {h)  after  the  wisest ;  (i)  overblown  ;  (j)  «^  ej/e  of  green. 

6.  Give  some  instances  of  Shakespeare's  compounds  with  un. 

C  (Third  Act). 

1.  Give  a  short  account  of  the  conversation  in  Scene  i. 

2.  Contrast  the  two  conspiracies  formed  by  the  courtiers  and  by  some 
of  the  sailors  respectively. 

3.  By  whom,  and  on  what  occasions;  were  the  following  lines  uttered :  — 

(a)  Most  busy,  least,  when  I  do  it. 

Thou  Shalt  be  my  lieutenant  or  my  standard. 

Here's  a  maze  .trod,  indeed, 
Through /or^^n'^/i^s  and  meanders. 

(d)  'Etdkch  putter-out  of  Jive  for  one  will  bring  us. 

(e)  With  good  life 
And  observation  strange,  my  meaner  ministers 
Their  several  kinds  have  done. 

4.  Explain  the  words  in  Italics. 

5.  Explain  fully  Shakespeare's  use  of  the  following  words  and  phrases : 
(a)  Sore;  (b)  the  top  of  admiration;  (c)  plain;  (d)  brained  like  us;  (e) 
to  paunch;  (/)  brave;  (g)  gentle-kind;  {h)  ecstasy;  (i)  burn  but  his 
books. 

6.  Annotate  any  irregularities  in  Shakespeare's  grammar  you  may  have 
noticed  in  the  Third  Act. 

D  (Fourth  Act). 

1.  Quote  the  speech  beginning,  *  Our  revels  now  are  ended.'  Point  out 
its  merits. 

2.  State  by  whom,  and  on  what  occasions,  the  following  lines  were 
uttered :  — 


(&) 
(c) 


[2] 


Do  not  smile  at  me  that  7  boast  her  off. 

You  nymphs  called  Naiads  of  the  wandering  brooks. 

(c)  *  Steal  by  line  and  level,'  is  an  excellent  pass  of  pate, 

(d)  Being  ldss-lo?m ;  thy  pole-dipt  vineyard. 


3.  Explaiu  and  annotate  the  words  in  Italics. 

4.  Explain  fully  Shakespeare's  use  of  the  following  words  and  phrases : 
(a)  Fairly  ;  (b)  freely ;  (c)  wonder'd ;  {d)  distempered ;  (e)  meet  with  ; 
If)  hoodwink  this  mischance ;  (g)  aged  cramps ;  (h)  villanous  loio  ;  {i) 
rounded  with  a  sleep. 

6.  Quote  a  few  instances  of  Shakespeare's  use  of  the  word  rack. 
6.  Give  some  instances  of  the  irregularities  of  Shakespeare's  verse  in 
The  Tempest. 

E  (Fifth  Act  chiefly). 

1.  What  event  reconciles  the  opposing  parties  and  diifering  circum- 
stances?  And  how? 

2.  Quote  Gonzalo's  summing  up  of  the  play. 


APPENDIX. 


141 


3.  State  by  whom,  and  on  what  occasions,  the  following  lines  were 
uttered :  — 

(a)  In  the  lime-grove  which  weather-fends  your  cell. 
(6)  Destiny  that  hath  to  instrument  this  lower  world, 
(c)  Bravely,  my  diligence.    Thou  shalt  be  free. 
(^d)  And  deal  in  her  command  without  her  power, 
(e)  Mine  would,  sir,  were  I  human. 

4.  Explain  fully  the  words  in  Italics. 

5.  Annotate  and  explain  Shakespeare's  use  of  the  following  words  and 
phrases :  (a)  His  carriage ;  (b)  high  wrongs ;  (c)  fancy ;  (d)  sir ;  (e)  re- 
morse and  nature  ;  (/)  taste ;  (g)  do  offices  of  truth  ;  (h)  resolve  you. 

6.  Give  some  instances  of  Shakespeare's  use  of  the  abstract  lor  the  con- 
crete, and  of  the  concrete  for  the  abstract. 

7.  State  what  you  know  of  the  sources  of  The  Tempest. 


SOME   TOPICS  FOR  ESSAYS. 


Most  poor  matters  point  to  rich 
ends,  III,  i,  3,  4. 

Most  busy  least,  III,  i,  15. 

Shakespeare's  knowledge  of  navi- 
gation. 

Caliban  '  the  missing  link. ' 

Magic,  necromancy,  hypnotism. 

Prospero's  life  in  Milan. 

Prospero's  life  on  the  island. 

The  Bermudas. 

Shakespeare's  geography. 

Difficulties  in  creating  Ariel's  per- 
sonality. 

Difficulties  in  creating  Miranda's 
personality. 

Same  in  the  case  of  Caliban. 

Story  of  the  the  first  scene. 

Story  of  Act  III,  sc.  iii. 

Story  of  the  conspiracy,  II,  i. 

Story  of  the  conspiracy,  III,  ii ; 
IV,  i. 

Probable  origin  of  the  play. 

Use  of  prose  and  blank  verse  in 
the  play. 

*  End-stopt '  and  *  run-on '  lines. 

Every  man  shift  for  all  the  rest, 
etc.,  V,  i,  266,  257  (altruism?). 

What  does  Prospero  typify  ? 

Forgiveness  in  Act  V. 

Observance  of  the  *  unities. ' 

Didactic  purpose  in  the  play  ? 

Trinculo. 

Court  jesters. 


Ariel  and  electricity. 

Stephano  and  drunkenness. 

Is  Prospero  Shakespeare  ? 

St.  Elmo's  fire. 

Prospero  as  teacher,  I,  ii,  172. 

Miranda  as  teacher,  I,  ii,  352. 

Importance  attached  to  books,  I, 

ii,  109,  166-168;  III,  i,  94;  III, 

ii,  85,  88,  91  ;  V,  i,  57. 

*  Destiny  that  hath  to  instrument 

this  lower  world,'  III,  iii,  53,  54. 
Allegory  in  the  play.    See  Dowdenj 

pp.  377-380. 
Deities  as  elementary  powers. 

*  The  Powers  delaying  not  forget- 

ting,' III,  iii,  73. 

Wendell's  suggestion  of  Shake- 
speare's 'decadence.' 

Classical  learning  in  the  play. 

Ferdinand  and  Miranda  in  III,  L 

Gonzalo. 

Sycorax  and  Setebos. 

Browning's  ^Caliban  on  Setebos.^ 

Evanescence,  IV,  ii,  154-167. 

Astrology,  I,  ii,  180-184. 

Contrasts  in  the  play. 
*  Nothing  of  him  that  doth  fade 
But  doth  suffer  a  sea  change,' 
etc.,  I,  ii,  398-400. 

Function  of  each  act  in  the  drama. 
(See  Frey tag's  Technique  Of  the 
Drama,) 


INDEX. 


abbreviations,  22 

abstemious,  103 

abuse,  120  , 

abysm,  33 

ache,  92 

aches  (or  aitchea  ?),  52 

admire,  122 

advantage,  27 

adventure  .  .  .  weakly,  66 

afore,  76,  100 

after  (=  afterwards  ?),  73 

again,  53 

aged  cramps,  113 

a-hold,  28 

Alexandrine  line,  37 

allegory,  130,  131 

alliteration,  53 

amain,  104 

Amphion,  62 

an  (=if?),  66 

and  if,  120 

Appendix,  132-141 

are  (in  '  coral  are  '),  53 

Argier,  46 

Ariel,  13,  42,  43,  etc. 

arise,  41 

arts,  liberal,  35 

aspersion,  101 

assist  the  storm,  26 

attach'd  (=  attacked?),  93 

attend,  56 

avoid,  108 

awak'd,  37 

aye,  for,  71 

azur'd  vault,  117 


backward,  83 

badges,  127 

barnacles,  113 

bass  my  trespass,  98 

bate,  45,  62 

bat-fowling,  66 

Baynes,  104 

be  (plural  ?),  70,  81 

bear  up,  86 

beating,  41,  126 

Beaumont  &  Fletcher,  29 

become,  90 

Bermoothes,  44 

Bermudas,  10,  44 


berries,   water    with    (cof- 
fee ?),  50 
besides,  84 
best,  thou  'rt,  51 
bestow,  129 
betid,  33 
bigger  light,  50 
blow,  84 
blue-ey'd,  47 
board  'em,  86 
boatswain,  25 
boded,  85 
boiled,  117 
bombard,  74 
book,  86,  90,  117 
bootless,  33 
bosky, 105 
boson,  26 
bourn,  65 
brained,  87,  90 
brave,  31,  55,  90 
braver,  more,  55 
bravely^  97 
breath,  131 
bring  her  to  try,  28 
broom  groves,  104 
brown  (or  '  broom '),  30 
Browning,  Kobert,  20 
budge,  115 
burthen,  52 
but,  54 

but  doubt  discovery,  69 
butt,  39,  77 
by  and  by,  92 


Caliban,  12,  13,  16,  etc. 

Campbell,  14. 

can,  101 

candied,  70 

canker,  54 

cares  (for  *care'  ?),  27 

carriage,  115 

case,  87 

cast,  69 

cat  o'  mountain,  113 

catch,  91 

certes,  94 

chalk'd  forth,  124 

chaps,  76 

cheek,  welkin's,  31 

cheer,  25 

cheerly,  26 

143 


cherubin,  40 
chess,  122 
chirurgeonly,  64 
chough,  70 
cockerel,  60 
coffee,  50 
coil,  43 

Coleridge,  13,  80,  86,  95 
come  by,  71 

composite  masterpiece,  84 
condition,  38 
conduct,  126 
confederates,  38 
confines,  107 
consent,  67 
constant,  43 
content,  70 
contrary,  37 
control,  55 

cooling  .  .  .  with  sighs,  44 
coragio,  127 
coral  made,  58 
corollary,  103 
correspondent,  48 
courses,  28 
Cowden-Clarke,  46 
crabs,  79 
cram,  63 

creature  (collective  ?),  31 
crisp,  107 

critical  comments,  11 
curfew,  117 

curtsied  (or  *  courtesied  '), 
52 


-d,  or  -ed  (omitted  suffix), 
36,40 

Dagon,  49 

dalliance,  103 

date    of    composition     of 
play,  9 

dead  Indian,  T4 

dear,  121 

dearest,  64 

debosh'd,  87 

decadence     (of    Shake- 
speare's powers?),  21 

deck'd  the  sea,  40 

deliver'd,  60,  129 

demi-puppets,  116 

demoniacal  possession  (sign 
of?),  76 

devour,  122 


144 


INDEX. 


devouring,  9T 

dew-lapp'd,  96 

Dido,  62 

Die  Schone  Sidea,  11 

diligent  ear,  83 

Dis,  105 

disease,  118 

discharges,  electric,  43 

discovers,  122 

distinctly   (=  separately  ?), 

43 
doit,  74 

dollar  .  .  .  dolor,  60 
doth,  27 

double  comparative,  55, 101 
dove-drawn,  105 
Dowden,  103,  115 
dowle,  96 

down,  unshrubb'd,  105 
drawn,  72,  78 
drink  the  air,  119 
drollery,  93 
drowning  mark,  27 
Dryden,  11 

E 

ecstasy,  99 

edge,  102 

electric  lights,  43 

Elmo's  fire,  St.,  43 

elves,  116 

enchanted  trifle,  120 

end  o'  th'  beam,  68 

engine,  65 

Eng.  Literature  (study  of), 

132-141 
envy,  46 
Epilogue,  130 
ere,  or,  32 

essays,  topics  for,  141 
estate,  105 
event,  38,  85 
ever,  or,  41 

execution  of  pirates,  29 
eye  of  green,  61 


face,  37 

fall  it,  71 

fathom,  53 

fear  me,  128 

fearful,  57 

feater,  70 

featly,  52 

fellow,  85 

fellowly,  118 

fends,  115 

Ferdinand,  19,  43,  103,  etc. 

few,  in  (Lat.  idiom  ?),  39 

fire  (dissyl.  ?),81 

Ave  for  one,  95 

flat-long,  66 

Florio's  Montaigne,  64 

flote,  44 

foil,  83 

foiaon,  65,  106 


fool  to  weep,  85 

footing,  108 

for  (=  in  respect  to  ?),  28 

forego,  93 

foreheads,  113 

foretold,  108 

forgiveness   and    freedom, 

131 
forth-rights,  92 
founder'd,  102 
Franz  Horn,  45 
fraughting,  32 
frees  (=  frees  from  ?),  131 
freshes,  the  quick,  89 
fringed  curtains,  54 
frippery,  112 

from  (peculiar  sense  of),  34 
frustrate,  93 
full  poor,  32 
Furness,  20,  et  passim 
Furnivall,  17 
furze,  30,  110 


gaberdine,  76,  77 

gait,  Juno's,  106 

gallant,  54 

gallows,  perfect,  27 

garments,  sustaining,  44 

Garnett,  19,  31 

gave  out,  125 

genius,  worser,  101 

gentle,  57 

gently,  48 

gilded,  128 

glasses,  45,  125 

glut,  29 

go  (=  walk  ?),  87 

go  to,  113 

golden  age,  65 

Golding's  Ovid,  116 

Gonzalo,  good,  27,  ei  pas- 
sim 

good  (how  used  ?),  25,  27, 
111 

good  life,  97 

goodly,  123 

goose,  78 

gorse,  110 

green  sour  ringlets,  116 

grind  their  joints,  113 

grudge,  45 

H 

hair,  112 

Hakluyt's  Voyages,  43 

hand,  27 

hand,  by  this,  88,  112 

hap,  27 

harpy,  95,  96,  97 

Ilazlitt,  12 

he  (in  'of  he  or  Adrian,'),  60 

hearkens  (transitive  ?),  38 

hearts,  26 

heath,  30 


heavy  (proleptic  ?),  66 

Heine,  14 

Heraud,  48 

bests,  47 

high-day  (or  hey-day  ?),  80 

hint,  39,  59 

hollowly,  85 

holn,  34 

Holt,  John,  11 

home  (=  completely  ?),  118 

honeycomb,  50 

hoodwink,  111 

Hudson,  liev.  H.,  18 

Hugo,  15 

Hymen,  101,  105 


I  (omitted),  52 

ignorant  (=  of  ignorance  ?), 

118 
impertinent,  39 
incharitable,  28 
inch-meal,  73 
infest,  126 

in  few  (Lat.  paucis  f ),  39 
influence,  42 
inherit,  79,  108 
inquisition,  bootless,  33 
instrument,  to,  96 
into  (for  '  in  '  v),  47,  51 
into  truth,  37 
Irving  Shakespeare,  19,  31 
is  (for  'are'?),  57,  125 
it  (for  '  its '  ?),  65 
it's  (peculiar  form),  37,  53 
ivy  (parasitic  ?),  36 


Jack,  played  the.  111 
Jameson,  Mrs.,  13 
jerkin,  112 
Johnson,  Samuel,  12 
Jove's  stout  oak,  117 
justify  (prove  or  convict  ?), 
120 


keep  (=  stay,  live  ?),  70 

Kemble,  Mrs.,  18,  97 

key,  36 

keynotes  of  the  play,  181 

kibe,  70 

-kin  (in  'lakin'),  92 

kinds,  98 

knock  a  nail,  89 

knot,  44 

.     L 

lakin,  92 
lass-lorn,  104 
Latin  idiom,  39 
learning  (transitive  ?),  51 
lie  there,  ray  art,  82 
Ueu  o'  the  premises,  38 


INDEX. 


145 


lile,  wilh  KooJ,  9T 
like  (=  alike  ?),9<> 
like  of,  84 
line,  110,  112 
line  and  level,  112 
line-grove,  115 
ling  (or  'long'?),  30 
list,  87,  91 
liver,  103 
Lloyd,  14 

long  (or  •  ling '  ?),  80 
lord,  good  my,  111 
lorded,  87 
Lowell,  J.  li.,  16 
lush,  61 
lust,  101 
Lusty,  61 

M 

mad,  of  the,  43 

made  on,  109 

maid,  55 

maid  (servant  ?),  85 

main-course,  28 

make  a  man,  74 

malignant  spirits,  46 

manacle,  56 

manage,  35 

man  in  the  moon,  69,  78 

man's  life,  69 

mantle,  118 

mantled,  110 

marmoset,  79 

marr'd,  107 

marry,  £3 

Martin,  Lady,  20 

masque  in  Act  IV.,  11,  114 

massy,  C3 

master  of  vessel,  25 

masterpiece,  composite,  84 

masters,  weak,  117 

Max  Mu'lcr,  113 

meanders,  92 

meaner,  98 

meddle  with,  32 

merely,  29 

messenger  of  Juno,  104 

mettle,  66 

might  (=  could?),  38 

minion,  105 

ministers,  39 

Miranda,  13,  16,  17,  etc. 

miss  (pecuUar  sense  ?),  48 

missing  link,  114,  127 

moe,  64 

mole,  blind.  111 

momentary,  43 

Montegut,  15 

moon-calf,  77 

mop  and  mow,  102 

moping,  126 

more  braver,  65 

most  busy,  least,  81 

most  poor,  81 

mount,  78 

mouths,  cold,  29 


mow,  73 

mows,  97 

Mulgrave,  Lord,  23,  80 

mum,  yS 

murkiest,  101 

murrain,  89 

muse,  94 

my  lord,  good,  111 


N 

Naiads,  107 
nail,  knock  a,  89 
Naples,  I  am,  55 
natural,  87 
Nausicaa,  17 
neat's  leather,  76 
negative  (double),  54 
Neptune,  43,  116 
nerves,  58 
nimble  lungs,  65 
ninny,  89 

Nobody,  picture  of,  91 
nonpareil,  90 
nor  no,  54 

noise  (breaks  spells  ?),  130 
not  bites,  117 
not  doubt,  03 
not  know,  120 
note  (  =  information  or  let- 
ter?), 69 
nuptial,  129 


oar'd,  63 

observation  strange,  98 

occasion,  67 

odd,  127 

odd  angle,  44 

o'erpriz'd  36 

off  and  on,  87 

of  power  (=  powerful  ?),  32 

of  whence,  32 

ortice  (=  official  voice  ?),  28 

of  (=  about,  in  '  study  of '  ?), 

62 
of  (=in,in  'dead  of  sleep'?), 

126 
of  (redundant,  in  '  cooling 

of'?),  44 
old  (=  huge,  old-fashioned?), 

51 
omit,  42,  66 
on  (for  'of'?),  109 
on't,  86,  51,  56,  63 
ooze,  45 

opportune  (accent  ?),  101 
or  ere  (=  before  ever  ?),  82, 

116 
out  (=  past  ?),  33 
Ovid,  116 
owed,  88 
owes,  54 
owest,  56 
owl  and  bat,  119 


pageant,  109 

I)ainful  (sports),  81 

pains,  45 

Piiphos,  105 

jKinigon,  61 

pard,  113 

pass  of  i)ate,  112 

passion,  68,  116 

patch,  89 

pate,  112 

paunch,  90 

peacocks  (Juno's),  104 

perpetual,  71 

pertlv,  103 

Phill'potts,  17,  80 

Phcjebus,  102 

phoenix,  94 

picture  of  Nobody,  91 

piece  of  virtue,  34 

pied,  89 

pig-nuts,  79 

pioned,  103 

plague,  the  red,  51 

plantation,  64 

plav  the  men,  26 

pluck,  120 

point  (=have  a  view,  tend, 
aim  at  ?),  81 

point,  to,  42 

I)ole-clipt,  104 

poor-john,  74 

positions  of  the  ship,  30 

post,  69 

power,  god  of,  32 

praise  in  departing,  95 

prayer  (efficacy  of?),  181 

premises  (law  term  ?),  88 

prerogative,  87 

present,  peace  of  the,  27 

presented  (=  acted?),  109 

presently,  38,  119 

princess  (plural  ?),  41 

I>rintless  foot,  116 

probable,  126 

proper,  75 

prose,  and  blank  verse,  80, 
72 

Prospero,  14,  16,  19,  et  pas- 
aim 

Prospero  (=  Shakespeare  ?). 
115 

Providence  divine,  40 

provision  (or  '  prevision '  ?), 
33 

puppy-headed  monster,  78 

putter-out  of  five  for  one, 
95 


quaint,  49 
quality,  42 
quick  freshes,  89 
quit,  39,  40 


146 


INDEX, 


rack,  109 

Raleigh,  Walter,  28 

rankest,  121 

rapt,  35 

rate,  36,  63 

reasonable  (=of  reason?), 
118 

red  plague  rid  you,  51 

reeling  ripe,  128 

rein  (to  give  the  rein),  103 

relish,  116 

remember  (=  remind  of?), 
53 

remorse  (=  tender  feeling, 
pity?),  118 

requit,  97 

resolve,  126 

retire  me,  129 

revenue,  37 

rid  (=  thrust  away,  de- 
stroy ?),  51 

right  out,  106 

ringlets,  117 

roarers,  27 

rounded,  109 

Russel,  17 

S 

Back  (sherry  ?),  77,  89 

safe  82 

safeiy  (for  '  safe '  ?),  125 

saffron,  105 

Saint  Elmo's  fire,  43 

sanctimonious,  101 

sans,  87 

scamels,  79 

scaped,  75 

Schlegel,  12,  49 

schoolmaster,  41 

score  (=  stake?  twenty?), 
123 

scurvy,  75 

sea-marge,  104 

sedg'd,  107 

sensible,  65 

servant-monster,  86 

8«t  (=  fixed  ?),  87 

8«tebos,  127 

sets  oflf,  81 

several,  83,  126 

shak'd,  72 

Shakespeare's  technical 
knowledge  of  seaman- 
ship, 30,  45,  125 

she(for 'her'?),  90 

should  (peculiar  use  ?),  53, 
67,71 

shouldst,  67 

shroud  (=take  shelter?), 
75 

signiories,  35 

4ngle,  55,  126 

ikiUess,  84 

Skottowe,  13 


Smith,  Capt.  John,  25,  28 

BO  (ellipsis  of?),  36,  52,92 

sociable  to  the  show,  118 

soft  (=  stop,  go  slowly  ?),  56 

solemnized,  129 

Somers,  Sir  George,  10 

something  (adverb  ?),  54,  84 

sometime,  118 

sore,  128 

sc?t,  62,  108 

sot,  90 

source  of  the  plot,  10 

southwest  (wind  ?),  49 

speak,  25 

sphere,  66 

spongy, 104 

sprites,  77 

spriting,  48 

St.  Elmo's  fire,  43 

stained,  61 

stale,  110 

standard,  87 

staring  (in  *  upstaring '),  43 

state,  35 

steaded,  41 

still  (=  always?),  124,  133 

still-closing,  96 

stock-fish,  89 

stomach,    an    undergoing, 

40,  63 
stover,  103 
Strachey,  Sir  E.,  54 
Study  of  Eng.  Lit.,  132-141 
subtleties,  120 
suff"ered(=  sufi'ered  death?), 

74 
suggestion,  71 
sun  sucks  up,  73 
supportable  (accent  ?),  121 
swabber,  75 
Sycorax,  46,  90 


tabor,  91 

tang,  75 

tawny,  61 

teen,  34 

tell  (=  count  ?),  59,  71 

temperance       (=  tempera- 
ture ?),  60 

Tempest       (last      written 
plav  ?),  14,  15,  16 

temple,  56 

tended,  83 

tender,  70 
V  text  of  the  play,  9 

th  (sense  of  suffix),  64 

that  (=  provided  that  ?),  122 

that  (=  so  that  ?),  36,  52,  92 

that  (omitted  after  '  but '  ?), 
54 

that's  verily,  72 

the  man  in  the  moon,  69,  78 

thee  (and  'thou'.     Differ- 
ence?), 118 

thick.  50 


thin    air    (=  tenuem    au- 
ramf),  108 

third      (or      '  thrid '     or 
'  thread  '  ?),  100 

thought,  with  a,  109 

throes,  68 

throughly,  93 

tilth,  65 

to  (=  '  as '  or  '  for '  ?),  61,  96 

to  (=  as  to?),  65 

to  point,  42 

tooth'd,  110 

topics  for  essays,  141 

topmast,  down  with  the,  28 

top  of  admiration,  83 

topsail,  26 

tortoise,  49 

trash,  35,  36,  112 

trebles  thee,  67 

trembling  (sign  of  demoni- 
acal possession  ?),  76 

trenchering,  80 

tricksy,  126 

trident,  43 

troll,  91 

trumpery,  110 

try  with  the  main-course,  28 

Tunis,  62 

twangling  instruments,  92 

twelve  year  since,  34 

twilled  brims,  103 

twink,  102  ' 


unback'd,  110 
undergoing  stomach,  40 
unities  (in  the  drama),  9 
urchins,  50,  73 
utensils  (accent  ?),  90 


vanity,  102 

vast  of  night,  60 

verily,  that's,  72 

verse  tests,  9,  10 

vetches,  108 

villanous,  113 

vineyard     (syllabication  ?), 

104 
virgin-knot,  101 
virtue  (peculiar  sense  ?),  32 
visitor,  59 
vouchsafe,  55 

w 

waist  (of  ship?),  43 
wallets,  95 
ward,  57 
wardrobe,  112 
washing  of  ten  tides,  29 
wearily  (for  '  weary '  ?),  83 
weasand,  90 


INDEX, 


147 


weather  (=  storm  ?),  28 

weather-fends,  115 

weigh'd,  63 

welkin,  31 

wench,  39 

Wendell,  B.,  20,  129,  180 

which  end  o'  th'  beam,  63 

which  (for  '  who '  ?),  81 

while-ere,  91 

whist,  52 

whistle,  master's,  26 

White,  R.  G.,  19 

who  (inflection neglected?), 
35 

who  (=  which  ?),  31 

who  (noviinati'vua  pen- 
dens f),  94 

whom  ...  is,  98    . 


whoreson,  28 

wicked  dew,  49 

wide-chapped,  29 

will  (expressing  repetition 
in  'will  hum'?),  92 

Wilson,  D.,  114 

winding,  107 

winkst,  67 

without  (=  beyond  ?),  127 

woe,  121 

woe  the  day,  82  , 

worser  genius,  101 

would  (expressing  repeti- 
tion in  '  I'd  divide ' ),  43 

wound,  78 

wrack,  82 

wrangle,  123 

wraths,  97 


wrongs  (=  sins,  offences  ?), 
120 


yare,  26,  125 

yarely,  25 

ye,  content,  122 

year  (for  '  years  '?),  34 

yond,  54 

you  (and  '  thou  '.  Differ- 
ence.), 34 

Young's  Night  ThoughtSy 
66 


zenith,  42 


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